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Art and Design in Europe 1600-1800

Front End Evaluation Findings

Art and Design in Europe 1600-1800 Front End Evaluation Findings

Creative Research Ltd 43 Broadway, London W13 9BP

Phone: 020 8567 6974 Fax: 020 8567 6979

Email: [email protected] www.creativeresearch.co.uk

29th October 2010/ Job No. 598/ Version 1

Prepared for:

V&A

Art and Design in Europe 1600-1800: Front End Evaluation Findings

Contents

1 INTRODUCTION 1

1.1 Background 1

1.2 Aims and Objectives 2

1.3 Method and Sample 2

2 KNOWLEDGE AND UNDERSTANDING 7

2.1 Introduction 7

2.2 Europe 1600 – 1800 7

2.3 Overall Levels of Knowledge 10

2.4 Understanding of Key Terms 11

3 RESPONSE TO NARRATIVE CONCEPT, THEMES AND OBJECTS 15

3.1 Introduction 15

3.2 Interest in the Narrative Concept 15

3.3 Interest in Themes 18

3.4 Response to Objects 29

4 INTERPRETATION AND CONTINUING THE EXPERIENCE 44

4.1 Introduction 44

4.2 Looking at objects more closely 44

4.3 Interpretation 45

4.4 Continuing the Experience 54

5 CONCLUSIONS AND RECOMMENDATIONS 58

5.1 Knowledge and Understanding 58

5.2 Interest in the Narrative Concept and Themes 59

5.3 Response to the Objects 60

5.4 Interpretation 60


5.5 Continuing the Experience 61

6 APPENDICES 62

6.1 Recruitment Screening Questionnaire for the Focus Groups 62

6.2 Topic Guide 75

6.3 Stimulus Materials 81

6.4 Quantitative Questionnaire 99

Figure 1: Key Characteristics of the Four Discussion Groups......................................... 3

Figure 2: Profile of the Quantitative Sample ................................................................... 4

Figure 3: Countries From Which Respondents or their Parents Originated .................... 5

Figure 4: Audience Segments......................................................................................... 6

Figure 5: Distribution of Quiz Scores ............................................................................ 11

Figure 6: Associations with Europe 1600 - 1800............................................................. 8

Figure 7: Interest in the Primary Themes...................................................................... 21

Figure 8: Interest in Secondary Themes....................................................................... 21


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1 Introduction

1.1 Background

The V&A is planning the re-presentation of the galleries that are devoted to Art and

Design in Europe 1600-1800. These will begin at the main entrance and will offer the

visitor the opportunity to move chronologically from the Medieval and Renaissance

galleries to the new galleries. The galleries and their associated on-line resources will

be aimed at diverse audiences and will reflect something of the changes in Britain’s

population over recent decades and changes in perceptions of Europe.

The new displays will set out to convey the constant movement of ideas, objects,

designers, craftsmen and consumers across Europe at that time. More specifically, they

will

• Explore the interaction between those wielding political power or forming the

market, and those who made or provided both traditional luxuries and

fashionable innovations

• Demonstrate the strong connections between Britain and the rest of Europe

• Explore aspects of the recurrent exchanges between European and Asian

design

• Touch on objects from Africa or North and South America which illustrate their

importance in European trade and Empire-building.

Within the new galleries, a variety of displays will be created. Some will show the larger

and more elaborate objects in the context of the grandeur of court interiors while others

will give glimpses into more intimate interiors away from public gaze. Other displays will

offer a denser and more didactic experience.

The museum commissioned Creative Research to carry out front-end research with

potential visitors to the new galleries to help inform the development process in terms of

the interpretation scheme as well as the wider concept development and

implementation. The research findings will be included in the museum’s application for

Heritage Lottery Funding for the project.


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1.2 Aims and Objectives

The principal objectives of the research are as follows, to:

• Assess interest in, and experience of, the gallery’s narrative concept

• Look at prior knowledge and preconceptions of the proposed gallery themes

• Look at preferred approaches to learning about the gallery themes, including

world views e.g. concepts of ‘Europe’

• Test knowledge of specific terms and technical vocabulary

• Assess recognition of key objects and images.

1.3 Method and Sample

There were two components to this evaluation:

• a qualitative component that involved four discussion groups each lasting up to

two hours to explore the issues in depth

• a quantitative component that focused on measuring levels of interest in the

main themes of the galleries, together with knowledge of specific terms and

recognition of a range of objects.

1.3.1 The qualitative component

The V&A has segmented its audience into six different visitor profiles. Of these, the core

audiences for the Europe 1600-1800 galleries are students, independent adults, and

families. Given the subject matter of the galleries, an additional audience was identified

and included in the research, namely people who are either themselves of European

heritage or where one or both of their parents originate from Europe.

Four focus groups were recruited with 7-8 respondents taking part in each discussion.

Each group involved a mix of men/women and a mix of visitors, lapsed visitors and non-

visitors to the V&A. This last group visited other cultural attractions (museums, art

galleries etc) but had not visited the V&A. In three of the groups we also ensured that at

least one or two BME respondents were recruited. In the case of those of European

heritage, each respondent had connections with a different European country.


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Respondents were recruited from different areas of Greater London using a recruitment

screening questionnaire (see Appendices for details). The key defining features of each

group are summarised in Figure 1.

Figure 1: Key Characteristics of the Four Discussion Groups.

All of the sessions were held at the V&A, two mid-week in the early evening and two on

a Saturday during the day.

Copies of the topic guide and the stimulus material used in the discussions are available

in the appendices.

1.3.2 The quantitative component

One of our researchers spent four days in the museum conducting face-to-face

interviews with a cross-section of visitors. This yielded 80 replies. In parallel to this, and

using the same set of questions, we ran an online version of the questionnaire.

Responses to the online questionnaire were generated via an E-newsletter that is sent

to Members and a Tweet. 587 online replies were received, giving an overall sample of

667 survey responses.

The questionnaire was designed so that some of the questions were presented in the

form of a multiple choice quiz. At the end of the questionnaire, respondents were

informed of their ‘score’ and, once they had submitted their questionnaire, they were


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taken to a web page which provided the correct answers. A version of the questionnaire

is provided in the appendices.

The profile of the people taking part in the quiz was predominantly ‘white’ and ‘female’.

There was a good spread of ages and four out of every ten respondents had a degree

or some other qualification in an art and/or design subject. This is summarised in Figure

2.

Figure 2: Profile of the Quantitative Sample

One in three (34%) of the respondents had European roots. Across the sample, 34

different European countries were represented; the five that occurred most frequently

were:

Germany (19%) France (17%) Ireland (17%) Italy (13%) Poland (12%)

Figure 3 illustrates this – each country that was mentioned has been starred.

Based on their answers to a number of questions, we have categorised respondents

into one of four categories, namely, ‘students’, ‘families’, ‘independent adults’ and

‘others’. It should be noted that these categories will only approximate to the museum’s

segmentation due to the fact we did not use all the questions that would be required to

fully classify people. Although Independent Adults constituted the largest sub-group in


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our sample (46%), one in six were Students and a similar proportion were Families (see

Figure 4).

Figure 3: Countries from which Respondents or their Parents Originated

(base: all those with European roots; n=225)


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Figure 4: Audience Segments


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2 Knowledge and Understanding

2.1 Introduction

In this section of our report we consider the prior knowledge and understanding that

respondents had of the subject matter including the state of affairs that existed in

Europe at the time, and their awareness and understanding of certain key terms.

2.2 Europe 1600 – 1800

In the groups, we explored in some detail what respondents knew about this time period

both from a geographical and political perspective, and from the point of view of what

might be happening in art and design. This was done initially by asking them what the

title of the galleries, ‘Art and Design in Europe between 1600 and 1800’ brought to

mind.

Many struggled to come up with any specific associations although between them they

were able to imagine a variety of general things that might be associated with the

period. They were often self-conscious about putting forward their thoughts in case

they did not fall within the time span (a number did not).

Of the four audiences, those of European heritage collectively were somewhat more

aware of different historical events or trends. This probably reflects the fact that in one

group we had people with connections with a range of different European countries; so,

it is not necessarily the case that each respondent was better informed but more likely

that their collective knowledge was somewhat broader. In each of the other audiences,

there were typically one or two ‘experts’ who knew more detail than others; often they

could name historical events, people, and styles.

We have grouped the suggestions made across the four groups into a number of

categories as shown below (figure 5). It is also interesting to note that when it came to

the objects, most respondents couched their replies in terms of types of objects as

opposed to specific works of art. It should be noted that respondents’ suggestions were

not always appropriate; for example, the Pre-Raphaelite movement post-dates the

period.


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Figure 5: Associations with Europe 1600 – 1800

The terms, rococo and baroque, were spontaneously mentioned in both the

Independent Adult and European Heritage groups though more tentatively in the former.

The typical view of the countries that constituted Europe at this time included the

principal western European countries, namely England, France, Germany, Italy,

Netherlands, Portugal and Spain. Sometimes it seemed that ideas of Europe

corresponded to the origins of the great explorers. Other countries were mentioned but

respondents were less sure about these, for example Austria, Switzerland and Greece,

and more Eastern European states like Czechoslovakia, Hungary, Poland and Russia.

When asked specifically if Europe included Russia at this time, most felt not although

there was some awareness that Russia would have been influenced by France. A lone

“Lots of marble maybe?

Wood with lots of tiny little carvings on it, grapes and little birds and things…

Intricate designs…

Would anybody know any names describing that style?

Rococo. Adam.” (Independent adults)


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voice in the Independent Adult group, suggested that in fact, Europe at that time was

physically similar to today except for the Balkans that were still under the Ottoman

Turks.

European Heritage respondents had a wider view of Europe that went beyond Western

Europe to the Nordic countries and Eastern Europe. Russia and Peter the Great were

spontaneously mentioned along with the building of St. Petersburg and how it was

heavily influenced by ideas from Europe.

It was fairly generally understood that Europe would have differed in its political make-

up at that time both in terms of which countries dominated and their type of governance.

While some countries were empire building, internally, they might be divided up into

very small entities, such as duchies and principalities.

A number of more informed respondents recognised that within the period in question

there were particular trends occurring across Europe such as:

• the cultural influence of European countries on one another

• the cultural influence of European countries on other parts of the world and vice-

versa including Egypt (and North Africa more generally), the Ottoman Empire,

Persia, India (eg. spices) and China (eg. silk), and the Americas (eg. the import

of coffee and the development of coffee houses in Europe).

“I think a lot of countries were exploring like the Dutch and Portuguese so they were going to the Far East and starting to make contact with Japan and places like that and trying to have trading posts in far away countries.” (Independent adults)

“Also in that time frame there, French culture and art was dominant. There was only one fashion in Europe at that time and that was French so it would have been a good representation of France in that, I would think.” (Independent adults)


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• the importance of power and trade as drivers for developments in art and design

• one or two also mentioned the growing importance of science and scientific

inventions.

2.3 Overall Levels of Knowledge

One way of assessing overall levels of knowledge is to consider the scores people

achieved in the online quiz. This used a multiple choice format to explore:

• levels of knowledge of key terms/styles by matching terms to the appropriate

definition

• recognition of which style was represented by different objects

• recognition of personalities/people

• recognition of where objects originated or what their function was.

The initial quiz had 18 questions although one further question was subsequently

added, giving a maximum score of either 18 or 19. Just 41 people (6%) scored 16 or

above while a similar number (36 or 5%) scored 5 or fewer. The majority scored

somewhere between these extremes and the mean score was 10.9 (see figure 6). This

indicates that while very few people were able to correctly answer most of the

questions, most people knew (or could guess) at least some of the answers.

“That’s when Napoleon went to Egypt, took his artists and brought all those pictures of Egyptian monuments back and that affected design in furniture and clothes and everything.” (Independent adults)

“Ottoman, there was definitely an Ottoman influence on music, oriental instruments were used, Mozart for example, so I know that. Also with Ingres, I think he was around in the 18th century, I’m fairly sure but not entirely sure. His paintings - the Grande Odalisque - are very oriental influenced, you know, Northern African, Ottoman as well.” (Students)


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Figure 6: Distribution of Quiz Scores

Men (11.6) and older respondents - those aged 55 and above (11.3) - scored

significantly higher on the quiz than women (10.8) and younger respondents - those

aged under 35 (10.4) - respectively.

There were no significant differences in the scores across the four audience segments

or between those with and without European roots.

2.4 Understanding of Key Terms

In both the quiz and the groups we explored respondents’ understanding of the

following terms;

Baroque Rococo Classical Neo-classical Antique

2.4.1 Baroque and Rococo

Respondents in the groups felt they had some understanding of the meaning of these

terms although not everyone knew what they referred to and those who knew they

represented styles of design, were often unclear how they differed.

“Yes, Baroque and Rococo…

…We didn’t know if it was a style or a person.” (Independent adults)


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Both terms were often associated with rich, elaborate designs.

Baroque was often associated with music (Bach, Vivaldi) as well as art and design.

In the quiz nearly three-quarters of the

sample (72%) chose the correct definition

for baroque while two-thirds (66%) chose

the correct definition for rococo. Just over

half (55%) identified the candle stick as an

example of the rococo style.

“[Referring to baroque] It was quite ornamented as well. I mean, in music you have a lot of ornaments, lot of ornaments, a lot of embellishments and I think that was in design as well, in art and sculpture, it was quite exaggerated, religious symbols mostly.” (Students)

“[Referring to baroque] We were discussing that. For us, it conjures up an era of maybe textiles that’s very luxurious, rich, heavy, lots of heavy drapes and tassels and tapestry and things like that…

…Yeah, material heavy, embellished, yeah very good word…

…Ruffles and luxurious and tassels.” (Families)

“[Referring to rococo] Yes similar to baroque but more exaggerated. So there is a lot going on, gold colours, angels sort of, two angels and the heart in between or you know... so a lot of sculptures of angels all stuck on ceilings and beds and that sort of thing.” (Students)

“[Referring to baroque] Again, very elegant and elaborate…

…I think it’s a bit less than Rococo. Maybe they follow each other. I’m not sure” (European heritage)


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2.4.2 Classical, neo-classical and antique

Most respondents in the groups assumed that neo-classical meant ‘new’ classical but

they were unsure in what way or how it was different from ‘classical’; that is, while they

recognised the term, they were unsure of its meaning. Nevertheless, in the quiz, when

asked to match the term to the definition, eight out of ten (82%) of respondents were

able to do so correctly.

While nearly nine out of every ten (89%)

quiz respondents correctly identified the

Temple of the Sybil as representing the

neo-classical style, only 55% correctly

recognised the waistcoat as being an

example of the style.

The Sèvres porcelain vases and clock were correctly identified by only a third (33%) of

respondents – no more than at the chance level. A similar proportion (31%) thought

they were examples of the rococo style and just over a quarter (27%) suggested they

were in the baroque style.

Although respondents in the groups were familiar with ‘classical’ and ‘antique’ as

descriptors, they were unsure about their meaning in relation to art and design.

‘Classical’ was mainly associated with music although reference was also made to

classical temples in the more knowledgeable Independent Adults and European


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Heritage groups by single members. In the Students group, a connection was made

with the idea of ‘timeless’ although several were following courses that related to

different aspects of fashion and textiles.

‘Antique’ gave rise to a range of interpretations including ‘old’, ‘something of value’,

‘more than 100 years old’. When asked how they had arrived at this meaning of

‘antique’, several respondents attributed this to watching the ‘Antiques Roadshow’. One

member of the European heritage group suggested that ‘antique’ referred to something

Greek or Roman.

This uncertainty was reflected in the quiz where just under two-thirds (64%) selected the

correct definition of ‘classical’ and only a quarter (25%) guessed correctly the meaning

of ‘antique’; almost half (48%) confused it with the definition of ‘classical’.

Taken together, the findings suggest that most people were aware of the terms although

they were not always able to offer a definition and even where someone correctly

identified the definition, they were not always able to apply them to individual images or

objects. Most of those taking part in the groups, including those familiar with the terms,

found it was helpful to be provided with an explanation/definition of each term.

“Anything that belonged to your grandmother.” (European heritage)

“For me, actually just having defined some of these terms is really helpful to start building up a picture and then being able to group up some of these images.” (Independent adults)

“I think antique is something quite old, something that is quite valuable, so it is an antique of that timeframe that is special because there’s not many left as well maybe. So if something is antique it is quite special and very expensive… … And collectable.” (Students)


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3 Response to Narrative Concept, Themes and Objects

3.1 Introduction

We summarise the response to the narrative concept and the levels of interest in the

different themes that are being considered for the new galleries. We then move on to

report on how people responded to some of the objects that will be on display.

3.2 Interest in the Narrative Concept

Narrative Concept

Seven galleries will lead the visitor from the main entrance round the south-west corner of the Museum on the lower ground floor. The galleries will showcase the art and design produced, sold, used and enjoyed in Europe from 1600-1800. They will illustrate the continuing supremacy of France as a leader of fashion but will also show pieces from all corners of Europe, from Portugal to Russia.

Thematically organised displays will start at the main entrance in 1600 and run chronologically to the Tunnel Entrance on Exhibition Road. They will explore the circulation of people, ideas and objects around Europe and between Europe and the rest of the world in the period that saw the beginning of world trade.

The displays will show how artistic styles, such as Baroque, Rococo and Neo-classicism were copied and re-interpreted in different princely courts throughout Europe, and will introduce some of the most important designers and makers of luxury objects – from Venetian glass and Meissen porcelain to silks woven in Lyon and exquisite steel jewellery from Tula in Russia. Many of the pieces were made for rulers, including Peter the Great of Russia and Marie Antoinette, the tragic queen of France whose life ended on the platform of the guillotine.

The original architecture of the new galleries will be uncovered, to offer much larger, higher spaces. In the galleries we will show the pomp and ceremony of court life and the exquisite luxury that was provided for private enjoyments – such as the period room displaying carved, painted and gilded panelling of Madame de Serilly’s boudoir, built in Paris in 1778.

In particular, we hope to show how Britain gradually became a more forceful player on the European scene, as British soldiers served in European armies, diplomats criss-crossed Europe to negotiate treaties and alliances, and noblemen travelled extensively on what was called ‘The Grand Tour’.

Following a somewhat lukewarm response to the subject matter of the new galleries as

expressed in the title, and the feeling among most respondents that their knowledge of

this period was hazy and likely to be inaccurate, the narrative concept proved a

welcome relief for many. They found much in it that piqued their interest and reading it,

reminded them that they possibly knew more than they realised.

The elements that were identified as being of particular interest (often because they

were a little surprising) were as follows:


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• The chronological layout of the galleries; respondents found this reassuring

because it was the most logical order and therefore they were likely to be able to

understand it better

• The way it tries to make sense of the transition from one style to another

• ‘The most important designers and makers of luxury objects’

• Characters such as Marie Antoinette and Peter the Great who they may have

forgotten but who they knew led interesting lives

• The inclusion of Russia generally and the idea of steel jewellery specifically. The

talk earlier had been of ideas going to Russia rather than coming from it

• Displays based on period rooms and in particular, the idea of the ‘boudoir’ with

all that it connotes today

• The opening up of the galleries to make the spaces larger and higher (although

there was some debate as to whether the original architecture at the V&A would

have dated from this era). The preference was for airy galleries notwithstanding

where darkness was used for effect or to protect items in the collection.

There was little surprise that France was portrayed as the leader in cultural terms with

Britain as a follower. Britain at this time was considered to be a colonial and political

power, rather than being associated with art and design although some respondents

recognised there may have been a cultural exchange through its colonies and the

empire.

“Well I like the fact that they are going to bring you through, like show you how each period developed into the next one... … And how they took something from each other as well.” (Students)

“I just really was amused to see the Russian town tour. Well, because it’s very famous for producing their metal ore works and all that but I was really surprised to see it here. It’s really cool.” (European heritage)


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There was some surprise at how British soldiers served in European armies. It all

sounded rather more ‘organised’ than respondents had imagined for this period.

There were a few thoughts on things that respondents were less keen on about the

narrative or felt were missing. A member of the Independent Adult group suggested

that the narrative did not impress on him what was so important about this period in

European art and design which meant that there was nothing to draw in someone like

him who was not particularly interested in this subject. He felt that the impact on Britain

could have been given greater prominence for example.

“Britain is kind of added on at the end and actually, it’s all the other parts of Europe were doing all the cool stuff and then…

… Well that was right, that was the case. We were a bit like the Americans, we didn’t have much taste of our own so we bought other peoples.” (Independent Adults)

“Yeah, I just imagined it would be a bit more chaotic. I thought there was a lot of animosity between countries rather than organising armies like that and things. But maybe that’s more pre-1600 that I’m thinking… … I suppose that part of it where Britain is becoming more dominant, more prominent, again reinforces the historical fact of how the empire was built, how we came to have this country as it is today. You know, the stages, the stepping stones, so that would be quite interesting to see where it came from, to how we are now.” (Families)

“I think a lot of people would consider it [France] to be the cultural centre at the time. So maybe that’s perfectly allowed…

…It seems like Britain just follows everyone around and just does what they do. ” (Students)


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There was also some surprise at the lack of mention of influences coming to Europe

from the Far East.

Those with children in the European Heritage and Family groups were uncertain that the

galleries as described, would offer much for children.

3.3 Interest in Themes

Reactions to eight primary and four secondary themes were explored in the discussion

groups. In two of the groups, respondents were each given a theme to read and

comment on in terms of how interesting they found it and how they imagined it might be

presented. In the other groups, respondents were invited to choose a theme that

caught their eye to comment on.

PRIMARY THEMES

Empires: explores the changing power struggles within Europe and the changing alliances that reflected, in particular, the interests of different Christian denominations.

It also explores the competition for influence in the territories of America, Africa and Asia that became significant trade partners and promised wealth to those European powers which could colonise territories there or establish trading links.

Religion and Power: Explores the impact of religion on art and design. Throughout Europe, the dominant religion was Christian, but different states owed allegiance to different denominations.

Until the middle of the seventeenth century, Europe was riven by wars between Catholics and Protestants and tensions between these two main groups remained. Both Catholics and Protestant churches were active patrons of the arts and in particular the Catholic renewal movement known as the ‘Counter-Reformation’, relied on art and music as a tool for education and influence.

“I see it as a missed opportunity. There’s some good ideas here but the question I was asking myself was, would this be catering to people who have an interest in this era or to attract new people because the first question that I would want to ask if I knew nothing about this period is, ‘why is it important? What is so important about 1600 to 1800?’ I think that needs to be spelt out to attract the interest, to say well, this is what happened during this period, this is why this period in time in Europe was so crucial.” (Independent Adults)


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Travel, Trade and Migration: Europe was a continent on the move. War alone moved armies hundreds of miles during campaigns. This topic looks at how artisans, conscious of new markets for their skills in many different centres, moved from one city to another, sometimes also prompted by the need to find a city more welcoming to their religious views.

Trade increased rapidly, both between states in Europe and with the markets of the Americas, Africa and Asia and brought a wealth of new materials and new luxury goods to Europe.

By the middle of the eighteenth century, the idea of travelling for education was established for princes and aristocrats and ‘The Grand Tour’ became a necessary stage in a young nobleman’s education - the gap year of its time.

Parade, Intimacy and Secrecy: At courts, much life was led in public. For the French monarch, even getting up was made part of a public ritual (the levee). Correct behaviour was expected and taught from an early age. But at the same time, there was a natural wish for space where such formality could be relaxed.

In the eighteenth century houses were built with smaller rooms such as boudoirs, which gave space for the more intimate life of family and friends and people began increasingly to value this freedom.

A life of leisure and luxury required the presence of many servants, which meant that much life was led, essentially, in public, which made opportunities for secrecy challenging. Furniture in particular began to be designed with secret compartments to provide secure storage or hiding places for documents, money or valuables.

Court and City: Explores how the large states such as Spain and France, and the small princely courts of Europe, were centres of courtly life, with palaces that proclaimed either their actual wealth or their aspirations, most of these modelled on the French court at Versailles.

At the same time, cities such as Paris or Amsterdam were home to rich merchants who supplied the markets in luxury goods and were themselves consumers of them.

Court Workshops: With finely made luxury goods a mark of worldly prosperity, this topic explores how rulers in many of the states of Europe sought to foster the skills of production in their own cities.

Florence was amongst the first, with workshops for semi-precious stones.

In 1662 Louis XIV founded the Goblins workshops in France, primarily to make tapestries, but also imported Italian craftsmen to make gilt-bronze, furniture and other luxury goods.

When the Meissen workshops in Saxony became the first to make porcelain in Europe, several rulers sought to create porcelain workshops in their territories.

Learning, Leisure and Sociability: This topic explores the importance of education for those aspiring to courtly or noble life, together with training in drawing, music, dancing and the playing of card games - all seen as essential for an elegant life at court.

As scientific knowledge developed, particularly from the late-seventeenth century onwards, both men and women in the fashionable world, began to study the natural world.

Equipment such as globes, microscopes and barometers could be made to the same level of luxurious decoration as silverware or fine furniture.

Revolution: This topic explores the new philosophical and political ideas that came with the intellectual movement known as ‘The Enlightenment’ that provoked much debate among educated people throughout Europe and a questioning of the power of monarchs.

The movement for revolution in France was, to a large extent, a middle-class movement, prompted by thinkers, despite its popular imagery of peasants uprising. Europe was rocked by the French revolution and, in particular, by the execution of Louis XVI. The arrival on the scene of Napoleon a few years later, led to wars which completely re-wrote the map of Europe.


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SECONDARY THEMES

Performance, Pageant and Theatre: In this period, theatrical and musical performances, masquerades and carnival, royal and municipal celebrations offered public entertainment in palaces, theatres and the streets of cities. Religious processions offered splendid and spectacular opportunities for all classes to express their faith publicly.

Craftsmen and Merchants: Princes and nobles might be the chief commissioners or purchasers of new luxury goods but equally important to their creation were the craftsmen (and craftswomen) who used their technical skills to create luxury goods, and the merchants who fostered trade in such goods throughout Europe and to, and from, trading partners throughout the world.

Collecting and Shopping: Collecting rare, exotic and expensive art, curiosities and mementoes was a common activity for princes and aristocrats in this period, whether at home or abroad. Shops specialising in different goods increasingly offered both splendid window displays and luxurious setting from which anyone with sufficient money could acquire useful, decorative or collectable objects.

Innovation and Imitation: Princes and their peoples were ever keen for innovations, whether technical (like the discovery of the secret of making porcelain) or stylistic (like the new, neo-classical style that swept Europe in the second half of the eighteenth century). Innovations could come from discoveries of new materials, new methods of working them, or from the ever inventive minds of designers and makers. New ideas were quickly copied by local makers in different centres.

Respondents taking part in the quiz online were asked to rate their interest in the

themes by dragging a pointer one or two positions to either the left (less interested) or

the right (more interested).

Overall, there was a good level of interest in all the themes. For example, regarding the

primary themes, 80% expressed interest in ‘Travel, trade, migration’ with 38%

expressing a great deal of interest (i.e. they dragged the pointer fully to the right).

Although ‘Empires’ attracted least interest, 69% were interested in this theme and 25%

expressed a great deal of interest (see Figure 7).


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Figure 7: Interest in the Primary Themes

Levels of interest in the secondary themes were slightly lower (respondents did not

know these were considered to be secondary themes), nevertheless, there was a good

level of interest in all four themes with at least two-thirds of the sample expressing some

interest in each (see Figure 8).

Figure 8: Interest in Secondary Themes


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There were some statistically significant differences1 in the level of interest in some

themes between men and women, older and younger respondents and those who

scored above and below average on the quiz (i.e. between those with more or less

knowledge). These differences are summarised below.

While men were not significantly more interested in certain themes than women, their

preferred themes were Empires, Revolution and Religion and Power. This may indicate

their greater interest in the broader historical themes than more personal topics. Taken

together, the range of themes should appeal to a good cross-section of visitors with

different visitors finding themes of interest.

Although the name of the galleries, Art and Design in Europe 1600-1800, was not

considered to be especially inspiring by the respondents taking part in the discussion

groups, for the most part, the individual themes built on the more positive response to

the narrative concept and most respondents found some aspect of the different themes

interesting. Where some respondents were less keen on a topic it was often due to their

own personal interests – and they could find other themes in which they were

interested. Another factor behind this was that some themes were less easy to visualise

in terms of how they might be presented in the galleries and this made them seem less

1 The Chi-square test was used to test statistical significance. The interest scores were collapsed into two categories – those expressing interest in a theme vs. those either expressing disinterest or no interest.


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interesting because it was assumed that the theme would have to be communicated

using panels of text.

Some respondents felt that there was a level of assumed knowledge in the subject

matter of the themes.

In a similar vein, the themes came across as being aimed at an older, more informed

visitor and less at younger adults and children.

While they were interested in some of the themes, what was important to respondents

was that the themes were presented so that visitors were provided with a ‘way in’ to

them. Given their often sketchy level of historical knowledge, for some this meant

providing them with the historical context. For others, it might mean contrasting and

comparing objects and lifestyles. For example, some felt the themes were too focussed

on the rich and wealthy and they would like to see how other strata of society lived.

“It is interesting but I wouldn’t come to a museum to learn about this, I’d go and read a book. I want something that’s visually pleasing really, visually stimulating.” (Families)

“My concern would be to make it accessible to people of all ages. Like younger people, they wouldn’t know how to appreciate that as more mature people would be able to.” (European heritage)

“Don’t assume that everybody that goes there, has an understanding of what they are looking at and maybe just a bit more of an explanation, what you are looking at and where it’s come from.” (Students)

“These that we are more interested in, it’s more visual effects, pictures and things and stories and paintings…

…You could think of examples of them rather than other things - you think, ‘oh, how would you do that?’” (Independent adults)


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Others suggested comparing how people lived then with today.

Some of the themes and the later interpretation ideas were seen as having potential to

display items or tell stories that focused on the curious or the strange or the slightly

risqué.

In other words, the most frequently mentioned suggestion was to focus on the social

history, the people and their lives, so that visitors could relate them to their own

experiences.

“I was at Chiswick House the other day and one of the people that was there brought four giraffes in when he was entertaining one of the Tsars of Russia, he borrowed four giraffes just to wander around Chiswick House. And also not only that but he had some apparently violent kangaroos just living there. People did have unusual animals on their estates.” (Independent adults)

“That was one thing that I thought about this, that it was all focused about the wealthy and the rich and affluent people, there was nothing here to show your normal person in the street, kind of thing. Maybe people aren’t interested in seeing that, I don’t know. But all of it is, as you say, the pomp and the ceremony and the luxury objects and all of that. There’s nothing about the normal person and what they did.” (Independent adults)

“We go to nightclubs, we go to bars and that wasn’t back then, so it would be nice to see how they actually socialised and how they spent their free time.” (Students)

“We don’t need to see models of people begging on the street, we knew what that was about, but maybe what were the middle class people like, or working class, people who still had food on the table and still entertained.” (Families)


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We briefly summarise below the main points mentioned in relation to each theme.

Travel, Trade, and Migration

• This theme gave rise to several suggestions for how it might be interpreted.

There was an interest in the idea of people travelling at that time and the ‘gap

year’ descriptor seemed to give it some relevance to today. It could be seen how

an individual’s account of their travels could be used to good effect and how

travel may have influenced different artists. The idea of showing the paintings

produced by an artist as they travelled from place to place was put forward.

• It was suggested that the introduction of new commodities would have

percolated down the social strata and ordinary people may not have responded

well (e.g. Russians not knowing which parts of the potato to eat).

Court Workshops and Craftsmen and Merchants

• The idea of the development of niche crafts in which different cities specialised

had appeal for a number of respondents. Their interest was particularly in how

“Travel became more open in the 18th Century and it was based on your social class so only the wealthy could travel and they travelled to be educated, so it was like a gap year out so they travelled across the waters to get educated. So I quite like that.” (Families)

“For me, it’s very much suggesting people that you can tell a story about individuals almost and you could actually insert an individual’s story into - they went on the grand tour - and talk a bit more about them and why they would have done it.” (Independent adults)

“For me, it’s more interesting because I don’t particularly want to go and look at paintings and stuff, tapestries, it doesn’t really interest me. I would prefer to look at things more about people and what they are doing, clothes, fashion.” (Families)


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and who was producing these luxury goods and how their lives would have

contrasted with those for whom the goods were made.

Court and City

• The assumption was that items on display (wall hangings, paintings, dress,

jewellery) would illustrate the opulence of the court and might give a sense of

what a salon and those who populated it might have looked like. There was

interest in how wealth changed people’s lives, and how people from around the

world aspired to this way of life.

• It was suggested that stories about the characters might make the facts more

memorable or even extracts from literature which visitors would recognise.

Parade, Intimacy, and Secrecy

• There was interest in the effects of living an intensely public life as well as how

public and private life influenced art and design.

• While some struggled to go beyond showing furniture with its secret

compartments, the suggestion was made that one might be able to convey the

“So I find that quite interesting, because originally at first like, the first bit is quite sad the fact that you have to do everything in front of everyone and eventually it led to having just a little bit of privacy and I just think everybody deserves that.” (Families)

“I just imagine lots of gold remembering Versailles. I haven’t been there for about 20 years, but I just remember it just being gold everywhere. Lots of tapestries…

… Normally the thing that comes to mind is courtesans…

…Lots of people in wigs and grand. I don’t know, like bubble shoes.” (European heritage)


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impact of having some privacy and space of one’s own through caricatures of the

period.

Religion and Power

• Religion was recognised as a significant part of the historical picture and a key

influence on art and design at the time; there was also interest in the contrast

with how things are today when the topic is still so relevant

• Those with a particular interest in the subject wondered how it might be

communicated and assumed that the artefacts and the patrons who

commissioned them would be displayed. It was suggested that the visual arts

might have been very important because few people were able to read.

Learning, Leisure and Sociability

• This was sometimes seen as a rather disjointed theme made up of separate

elements. The part which elicited most favourable comment was the

development of science and the instruments to support it. This was seen as

having the potential to show instruments associated with medicine as well as

scientific instruments, and a student of music carried it through to the

development of musical instruments. It was also suggested that children would

enjoy using microscopes of the period.

“I just feel the role of religion in those days is so important, and the effect it has on today’s situation, you know, in Europe already. I think that’s quite an important thing, you know in the arts and I’m not sure how they could portray it but I feel it’s quite central and obviously to the time.” (European heritage)

“They could display clavichords which were, a clavichord was a very specific, it didn’t sound like a piano, it didn’t sound like a harpsichord, it was something in between and it was very, very popular in the 18th Century. I think they were also quite expensive so only the rich and … people had them in their living rooms and... they had concerts in the evenings.” (Students)


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• After the heavily ornamented objects designed for show, there seemed to be

some relief in seeing more functional and useful objects.

• This theme was sometimes contrasted with Revolution. While this seemed to be

about personal intellectual development, Revolution was about the spread of

ideas with dramatic effect.

Revolution

• This topic elicited some interest especially from those who had mentioned the

French Revolution at the outset. The idea of including something about the

design of the guillotine was suggested.

• The idea that the outward show of wealth and luxury had become so

exaggerated that it led to this explosive reaction seemed in some ways, to be

expected.

Empire

• There was an interest in seeing both the positive and negative impacts of empire

building e.g. increased wealth/slavery. Rather than an interest in power

struggles, some respondents preferred stories of the impact on normal people

• One suggestion for interpreting this theme was to have an interactive display

showing a map of the world; one could click on different nations and find out

about the trade and colonisation that went on there and when. It would

potentially give some insights into why there are relationships today between

certain countries.

Collecting and Shopping

• Interest was shown in seeing some of the odd and curious things people

collected


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Performance, Pageant and Theatre

• This theme shows a positive and fun side of that period in history. It was

suggested that costumes worn at masquerades and carnivals might be shown as

well as illustrations conveying the contrast between outward show and private

life. Another idea was that children’s games might be made and played by

younger visitors.

3.4 Response to Objects

As part of the quiz, we asked respondents about a number of objects. Once again, this

revealed that there are very mixed levels of knowledge in relation to the types of objects

that visitors may come across in the galleries.

“Magazines, illustrations, magazines, books. Because I mean it was quite a wild period but because it was so religious, so it was quite repressed as well and everything that went on, went on behind closed doors. And you had De Sade, Molière, they were all sort of going wild.” (Students)

“I think rich people tried to ‘one up’ each other a lot and have the most exotic and strange curiosity, or whatever you like to call it. I think in a museum I kind of find that kind of thing quite interesting, the strange things, like the Elephant Man, real stuff like that. I think there was quite an interest around then as well with freak shows. I mean, maybe I’m completely wrong but circus freaks and stuff like that.” (Students)


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Who is it?

Louis XIV was recognised by

more respondents (73%) than

Peter the Great (57%).

What is it?

67% correctly chose the

correct answer for the food

and drink warmer and a

similar proportion (62%)

identified the monstrance.

Where is it from?

9 out of ten respondents (88%) recognised the monstrance as having been made for

the Catholic church however, the food and drink warmer was incorrectly identified as

English (53%) and less than a quarter (23%) suggested it was French.

77% identified the Temple of

the Sybil as being in Italy

However, the silver candle

stick was assumed to be

either French (49%) or Italian

(23%) and only 12% correctly

identified it as English.

The responses to the food and drink warmer and the candlestick possibly reflect a

stereotype concerning English craftsmanship of the period – the more down to earth,


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simple design of the food and drink warmer suggested it was of English provenance

while the more ornate candlestick was perceived to be of European origin.

Sèvres vs. Meissen

63% correctly identified the

Sèvres porcelain however,

only 34% (no higher than

chance) correctly identified

the Meissen; 32%

suggested it was Derby.

Respondents in the groups were shown a number of pictures of various objects and

invited to choose one that, on first impression, looked interesting. They were invited to

explain the reasons behind their choice. They were also asked if they had the

opportunity to ask a curator or museum expert some questions about their selected

object, what they would want to know. We summarise the key points that were made in

relation to each object below.

Peter the Great

A number of respondents found this picture particularly

interesting. Most noted that it appeared to depict a

battle/war scene although some questioned why the

figures of Peter and the boy appear so calm against the

violent backdrop. There was some debate as to whether

the background depicted a scene from one of the colonies

but clearly not in Africa because everyone is White.

Many thought the boy was a slave/servant and they were very interested to know about

his relationship with Peter – some thought they would find the boy’s story just as

interesting as Peter’s. In a couple of the groups, it was suggested that wealthy people

sometimes liked to have exotic servants, almost like ‘pets’ or an accessory to be shown

off.


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One respondent found the symbolism in the painting particularly interesting e.g.

foreground (peaceful) vs. background (conflict).

Some found it surprising that the painting showed Peter the Great, who, they had

assumed, would have been ‘a big Russian bear’. By contrast, he seemed somewhat

feminine.

Ask the Curator

What was the level of contact between Europe and Africa at the time?

What it the relationship of Peter and the boy?

What is happening?

Why are they calm?

Who is the boy?

Why is the boy looking at Peter?

Why is the boy dressed so well?

Guitar

“I found it very striking immediately and also I was curious to know who is the young African boy who is so well dressed? Is this a significant battle in history, what happened here, who is this noble man, was this representative of the time, were there lots more young Africans used in warfare?” (Independent adults)

“There is like a grey stormy sky which obviously signifies tensions and battles and things and I wondered, there’s like quite a lot of detail on the bark on the tree that’s been cracked and falling off and I wondered if that signified anything. But I was quite interested in the difference between the foreground and the background of this picture.” (Students)


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Everyone immediately recognised this as a stringed musical instrument though some

were unsure of what kind, possibly a lute rather than a guitar. Due to its intricate design,

many thought it may have been a one-off or a ‘show piece’ that must have taken a long

time to make.

It was also suggested that its style may have been influenced from outside Europe. For

some, it also begged the question what it sounded like and one respondent expressed a

desire to play it!

Ask the Curator

What is it?

Who was it made for?

Who made it? Why?

What era is it from?

Where was it made?

What is it made of?

Is it inlaid with mother of pearl or painted?

Is it unique, or are there more?

Monstrance

After close examination of the images depicted, most identified that this object had

religious significance although many were unsure what it was/what it was used for.

Whatever its function, the precious metals and intricacy strongly signal the fact it is a

valuable item.

“It’s obviously something musical but a lot of design and art and thought has gone behind it to make it more something of a show piece.” (Students)

“At first glance it looks, before you actually study what is on it, it looks kind of like Indian or Middle Eastern or something, but then you look at it and it’s got like flowers on it rather than if it was Middle Eastern, it would have like swirls and not really flowers.” (Students)

“It’s quite feminine. It’s ornate. I think it’s mother of pearl or bone, it looks like it’s got some bone. Obviously someone has handcrafted it over various months.” (Families)


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It was fairly readily associated with the Roman Catholic

church although a respondent in the European Heritage

group thought it might be Russian Orthodox. It was suggested that it might be

interesting to show the difference in power between the church who used the object and

the artisans who made it.

Ask the Curator

What is it?

How was it made?

Who was it made for?

What is it worth?

What is the history of the object?

What is depicted in the detail?

What is the significance of the sun?

How many hours and people to produce it?

Parochet

Several respondents were attracted to

the wealth of detail on this item. Two or

three Jewish respondents immediately

recognised this as Jewish in origin from

the Hebrew script and depiction of the

Torah scrolls, and suggested it might be

a cover or carpet of some sort.

Others were less sure about the origins

of the calligraphy (Middle Eastern?) and

its purpose.

“Well, it looks very valuable. It looks like there is something, it’s embossed, there’s a meal going on there… There is a gathering, a meal going on, it might be the Last Supper, I don’t know. There are some angels up here, there’s a crest at the top. I don’t know is it a centre piece or is it a head of a staff or is it ...?” (Families)


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It was suggested that it could be used as a way of presenting the topic of migration and

there was an interest in how people would have reacted to something so exotic and un-

European

This looks like the Torah. There’s a Menorah which is the candlestick, it’s all sort of Jewish themed. I’ve never seen a tapestry in this theme before. I would have no idea why it would be in that era so it would be interesting to know.” (Independent adults)

“You know it’s linking for me about migration and it’s quite moving because you know it’s like a lot of this kind of art has been lost with all the persecution. It’s interesting too, as a reminder that this was not only the Protestants. It’s quite old, I don’t know where it’s coming from.” (European heritage)

“I picked the Torah kind of thing. When I saw the postcard of it before, I did think it was like more Cyrillic and stuff but you can see like the Torah scrolls and stuff around the side and it is definitely Jewish, Hebrew. It just catches my eye, like the level of detail. There are a lot of different things to focus in on.” (Students)

“I was attracted to this, it’s the Ten Commandments. It’s a tapestry of some kind, it’s a cover and I believe it’s a cover for an ark or something like this. For me, what’s interesting, what I would ask the curator is, where it’s coming from? I would like to know the background of where it’s coming from, how many Jewish people there were there.” (European heritage)

“Did this knock the socks off people in other countries, who had this, why did they have it? It fascinates me about the language. I’ve no idea what language it is really at all and so what did people who might have spoken my language think of seeing another nation’s language written?” (Independent adults)


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Ask the Curator

Where is it from?

What stories do the images tell?

Why did they have it?

How does this compare/differ to other art at the time?

How would English speakers react to seeing the foreign script?

Mme De Montespan in a rich interior

Needless to say, no one had any idea who was being depicted here but this made it all

the more intriguing. It was felt to have a humour about it and to invite questions about

the story that lay behind it. When groups were told who it depicted, they found it

interesting.

“There’s so much going on and it’s so grand and I’m intrigued to know what on earth it’s trying to portray because I don’t have a clue. The only thing I can think of is angels, people sat in the middle, worshipping, a lot of gold, expensive.” (Students)

“Because there’s so many things going on in the picture that it’s just quite amusing. I just like it, it’s different. There’s like a sense of humour in there. There’s like little cherubs taking a bath. It’s lovely.” (European Heritage)


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Knowing the identity of the central character provoked some comments about the fact

that the painting conveyed wealth, grandness, expense and a sense of worship at a

time of great poverty.

It was suggested this object could be used to discuss the role and status of women at

the time or to highlight differences between social classes and their lifestyles.

Ask the Curator

Gender differences

Women’s rights

Power of women

Desirable women

Thermometer

Many found this object (on occasion thought to be a barometer)

particularly interesting as it shows the interaction of science and

art. It shows the growing importance of scientific instruments but

also has links to similar instruments in use today. It was suggested

that children might therefore be able to relate to it.

“That’s what would be really interesting in comparison, for example. This type of picture - everything is gold and water coloured and then dark, doom and gloom of the ordinary person.” (European heritage)

“Maybe it would be interesting to know just about gender at the time… … It looks like, maybe like a private women’s group, it doesn’t look like men wanted to go in there.” (Students)

“But then again it’s a really interesting item because it shows that science was interacting with art. It’s not like modern science, it’s just like - pure purpose, with some art into it.” (European heritage)


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Science at the time was understood in one group to be ‘suppressed’, and perhaps more

a process of ‘trial and error’ while in another, the emphasis was placed on the emerging

precision of scientific endeavours.

Science was understood to be mostly the pursuit of the rich and the nobility who might

sponsor those of superior intelligence to pursue their ideas.

One or two respondents commented they might like to see the thermometer presented

in an original setting e.g. in a decorated room/house of the era.

Painting of Woman wearing a Mask

For respondents in the European Heritage and Student

groups, this image played to comments they had made earlier

about masked balls. It was also sometimes chosen by

respondents with an interest in the fashion of the period who

hoped to see the actual dress on display or possibly being

worn by an actress.

“Well for me, it was a personal thing because I am very interested in fashion and clothing and that kind of thing and so obviously it was something that caught my attention straight away.” (Independent adults)

“Round about that time precision in instruments was becoming really important, like timekeeping, watches and things like that, helping people to determine latitude on ships and things.” (Independent adults)

“A lot of noble people…

…Free thinkers…

…Well, no also rich people…

…Yeah, they didn’t have to worry about - so they could use their time to study these kinds of pursuits.” (European heritage)


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Some found it a striking contrast with clothes of today.

Ask the Curator

What is the style?

Who wore the dress and for what occasion?

Was it for day or evening wear?

From what era?

What fabrics were used?

Who were the prominent designers of the time?

Why is she wearing a mask?

Panelling for Mme De Serilly

For the one or two who chose this image, it was not

immediately obvious that this may have been a private

room; the assumption was that it was an example of a

fine public room. There was surprise that a private

room would be so elaborately decorated. There was

also some interest and amusement in the contrast with

the current idea of a ‘boudoir’

“I think it would be like a public room especially in a court or something because that is really like extravagant with all the gold painting. I’d think it would be somewhere, where a lot of the public, well not public, but a lot of people would be allowed in.” (Students)

“It just depicts exactly what we were talking about earlier with the women with the fans and masks. I just like the costumes and all the ostentatious. That whole kind of era just really interests me. I think it would be great to be one. The idea that we were talking about at the beginning with the masquerade and the balls, getting a real feel of that kind of time.” (European heritage)

“Can you imagine trying to get on the tube!” (Independent Adult)


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Some respondents were interested in seeing the original wood panelling and one

respondent found the paintings on the ceiling particularly interesting.

Two Vases and a Clock

The general assumption was that these

were ornamental objects although

questions were also asked about whether

they might have been used to serve food

in, possibly soup or sugar. One or two

assumed they were made for people who

wished to demonstrate their wealth

through their ostentatiousness.

One or two had a guess at the style but

were unsure – were they rococo or baroque? A comparison was also made with

Fabergé egg designs.

It was not immediately obvious that the central item is a clock; once this was

noticed/pointed out, most assumed the dial rotates (a comparison was made with a

timer), and one respondent guessed the figure on top pointed to the time.

Ask the Curator

What are they used for?

How do they work as vases (they seem too shallow)?

Are they decorative or do they have a purpose?

“I just think the ceiling, the ceiling part is just baffling and I just think it’s really interesting. I want to know where it started, when people thought to make these kinds of things on the ceiling, it’s a bit random.” (Students)


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Jewel Coffer

It was not immediately clear to some respondents what

this object was – it was variously thought reminiscent of a

sideboard, hostess trolley (the wheels), gramophone and

cocktail cabinet. One particularly knowledgeable

respondent in the Independent Adult group suggested it

was a secretaire.

Some were particularly enthusiastic about the coffer once the secret element had been

explained. Respondents were very keen to interact with the object; it was suggested

that a computer interactive or film could convey very well how the compartments open

up, and this also might appeal to children. Another suggestion was for a hands-on

replica.

Ask the Curator

Who made it?

How was it used?

“They can have the real thing and then they can have like a game for children to find something, you know where is, where can you find this, where can you find that? And you’d have to find a secret compartment and they would have to try and search and at the same time they’d be finding out how it’s put together and how it works.” (Families)

“I think it could some sort of secretaire with all the little drawers. You’d have your writing instruments and paper and what not and you’d do your writing there.” (Independent adults)


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Tapestry Art of War

One respondent selected this

object. He felt it expressed well

a sense of action, possibly a

hunt, and was generally

interested to know what was

happening.

The Ommenganck

This object was also selected by one respondent who felt it conveyed ‘the insanity of

carnival’. She felt it had a medieval feel to it and wondered whether it might depict

celebrations around a Saint’s Day although the inclusion of weapons made this less

certain.

“I chose this for the pure insanity of it. It just shows how completely insane they all were. I think it’s like the carnival or something like that and they’ve got things in cages and everyone is looking out of their windows and they are all just nuts.” (Students)

“To me, it reminds me of either a hunt or a chase and the questions I would have been asking is on what occasion or what event would lead to them being in their regalia and all the pomp and glory?” (Independent adults)


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Ask the Curator

What was the occasion?

Who painted it?

How long did it take?


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4 Interpretation and Continuing the Experience

4.1 Introduction

We summarise here the views of respondents in the groups about how they would like

to see the objects in the galleries being interpreted. We also briefly consider methods of

engaging visitors before or after a visit.

4.2 Looking at objects more closely

At various points in the discussion, respondents were asked about how they might be

encouraged to look more closely at the objects on display. Various techniques were

suggested, some of them based on experiences in other museum settings. These

included:

• Having a recording of a narrative about an object on audio similar to the audio

description of paintings found at the National Gallery. This informs and invites

the visitor to look closely at the detail

• Displaying lots of curious objects closely together so that one is almost forced to

come close to see them, as at the Pitt Rivers Museum

• Drawing people in with interesting information displayed in an appealing way

around the object

“All these objects, there is so much going on, it’s quite dark… it’s just so, so interesting and they are all put together really closely in these glass cabinets, but it makes you want to look at them you know. I mean a) because they are so bizarre and b) because everything is well curated.” (Students)

“I visit the National Gallery quite a lot and I love their audio tapes because then you have more than a block of text next to a picture but also, it will delve into the reasons why the painting was produced or you can see hints of what the artist was trying to portray and they’ll talk about specific details in the picture.” (Students)


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• Quizzes which motivate the visitor to look in order to find the answer (the right

answers always to be given)

• Providing magnifying glasses to enable the visitor to look at the detail (e.g. on

the monstrance).

4.3 Interpretation

4.3.1 ‘Setting the scene’

It was noticeable that respondents who started out in the discussion with little

knowledge of the period and subject matter, visibly relaxed and became far more

interested once they were provided with a few facts and some vocabulary. Equipped

with these, they were able to begin to ‘make sense’ of some of the things they were

shown and they were given the confidence to venture opinions about them.

They sometimes volunteered the idea that there was a need to provide some form of

introduction to the galleries at an early point to convey this information in a similar way.

I

“For me, just having defined some of these terms actually is really helpful for me to start building up a picture and then being able to group up some of these images. So if I was to, like I can get this is rococo now with the leaf.” (Independent adults)

“Because all of us had heard of these terms but none of us knew exactly when they were so I think it needs to be made a lot clearer.” (Students)

“But also, I think it would be good to have a general understanding of how the world was in the 1600’s what was the general feeling in like for instance Great Britain and what was happening at the time and just to kind of set the scene before you start looking at things would be really interesting.” (Students)


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4.3.2 Expectations

Early on in the discussion, before respondents had sight of the narrative concept, they

were asked what they would hope to see in galleries showing European art and design

of this period. The hope and expectation were expressed that the galleries would go

beyond a ‘traditional’ museum visit of objects in cases with labels. The dryness of the

gallery title made them a little concerned that they would be presented with lots of

objects and a great deal of description in large blocks of text and while they were very

aware that their sparse knowledge needed to be supplemented, they did not want to

feel overwhelmed with information.

Some felt the museum should offer a unique, exciting, and interactive experience.

Students, in particular, felt the galleries should come across as modern and relevant to

young people.

One idea that was key to most respondents was that the galleries should convey a

sense of what it might have been like to live at those times. In some cases, this

reflects their experiences of other museums/attractions where this has been achieved

with great effect; examples included the period rooms in the Geoffrye Museum, actors in

Victorian dress at the Museum of the Moving Image, the Fire of London film at the

Museum of London, wartime settings at the Imperial War Museum and the silk weavers’

house in Spittlefields2.

2 It was not clear if this was a reference to Dennis Sever’s House, 18 Folgate St or 19 Princelet Street.

“I’ve also got that it would be cool to have the exhibitions more modernised because some areas are quite bland and dark so you don’t really get the feeling that you can really see that much. So modernise, quite a lot of lights and just make it a bit more approachable to the younger people.” (Students)

“I’m sure it will be a very beautiful exhibition but it’s quite, what’s the word? They’re just going to have the usual objects and pictures that you’d have in other galleries, nothing different, nothing new.” (European heritage)


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Respondents were fairly imaginative when thinking about how to create a sense of

atmosphere. For some, opening up the original architecture of the galleries goes some

way to contribute to this – it could make the galleries seem less dark and ‘stuffy’.

Many liked the idea of recreating a room or space that would transport the visitor to that

period of time. Lighting might be used to good effect to reflect the levels of illumination

at the time. Again, comparisons were drawn with other experiences.

Actors in costume and character could be used to contribute to the atmosphere of the

space and bring the galleries to life – either interacting with visitors or acting out a

scene. Sounds such as music and background noises typical of the period, along with

the different smells could also contribute to create an engaging experience.

“Once, many years ago, I went to a chateau just outside Paris and it was fantastic because you went through the doors and you stepped back into the 17th century. There was all the music and everything from that period and you just imagined you were back there.” (Independent adults)

“What would be frustrating is if it’s just still a bunch of objects in little glass boxes along a corridor and I think that the fact that it’s talking about opening up the gallery, all the larger spaces and trying to create the grand context that they originally came from, I think that’s valuable.” (Independent adults)

“There’s a house in Spittlefields that you go in and they’ve even got the smells of the food and it’s just like when the silk weavers lived there, which I think is really cool.” (European heritage)


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Many respondents also felt that interactive/dynamic elements would attract and engage

their attention and interest. Although one or two felt it was more appropriate for children,

a number mentioned dressing up as an activity that would encourage themselves to

learn more about the clothes, textiles and fashions.

They would also welcome the opportunity to touch or handle either the objects

themselves or replicas of the objects. This included some of the fabrics.

“You could actually get interactive with things like that because I’m the kind of person that will remember things more if you can actually not just read it but approach it and do something with it as well.” (Students)

“An installation of a room that looked like a social scene maybe, the harpsichord…

…or let the artist, dressed up in clothes of those times, go in the room in this particular gallery … once a day, a Sunday for example… and then you could ask them questions and they’d answer as if they were there.” (European heritage)

“Yeah interactive so you can participate and that…

…So it’s not just actors who get the chance to dress up but other people get to do that as well.” (European heritage)

“Keep it visually interesting with lots of interaction between us and the object. Well not the object, I know some of them are valuable, but you know what I mean, some that we can touch and feel.” (Independent adults)

“If there was a scene going on in every single room you walked past, you will definitely stop and try and listen to what’s going on. Some of them could be a bit comical, some of them could be very pompous.” (Families)


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There was also interest in being able to watch art and craft demonstrations of materials

and techniques used at that time.

The Family group felt children might enjoy creating their own art using materials that the

artists of the period would have used.

There was an expectation that the galleries would employ a variety of media including

audio, video, touch screens, projections and computers. The European Heritage group

described how their ideal of feeling transported back in time could be achieved in part

by using, for example, projections of street scenes. One respondent suggested that

video might be used to demonstrate how certain objects were made, similar to a video

he had watched at the Royal Armouries showing how a sword was made.

4.3.3 Response to interpretative ideas

Respondents in the groups were each given a brief description of a different

interpretative idea and asked to give the rest of the group their response to the idea;

everyone else was invited to add their comments. The list of ideas is shown below.

Please note that due to time constraints, these ideas were only discussed briefly.

Interpretative Ideas

Two Minute Audio Tape

The audio relates to a cabinet made in Würzburg 1716 in the workshop of Servatius Arend, cabinet-maker to the Prince Bishop of Würzburg.

In the 1970s a letter was found hidden within the structure of this cabinet, written by Jacob Arend and Johannes Wittalm, the craftsmen who actually made the cabinet. The letter is dated 22 October 1716 and describes the poverty they endured because of constant warfaring. ‘Cabbage and peas were often the best food we could obtain’ and ‘A great deal of cabbage and turnips has driven us out of Würzburg’.

This is a highly personal account of lives of relatively poor craftsmen of the time.

“And maybe using materials in art for the kids to recreate their own picture, in those particular materials of that era.” (Families)

“Well whatever materials they were using between 1600 and 1700 in whatever maybe they could have like a demonstration of a particular piece of art.” (Families)


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Drawing Activity - ‘WHICH GOD ARE YOU?’

There would be a brief explanation of how symbols were used, and a few illustrations of them. Children could draw themselves or their family as gods and goddesses with a peacock (Juno) or a thunderbolt (Jove), or they could invent a symbol and a role for themselves as the god of …?

Which is Which – Wedgwood or Sevres

The famous blue-and-white ware, invented by Josiah Wedgwood, was soon copied in France, but they used a slightly different technique and with a few clues most visitors could spot the difference.

Gallery Book - ‘Faithbook’

This activity would be for adults or older students. It will help them to understand something about the different religious traditions that were practised in Europe, provide an outline of what they believed, show a map of where the different communities lived at different periods and give a brief account of conflict or tolerance in different areas at different times. The idea would be to link these ideas to the objects that were used by the different communities.

Artist Interventions

Contemporary artists and designers are invited to respond to the material on display by creating interventions within the gallery space. This could be in response to themes which are harder to cover in traditional displays, e.g. hidden histories of women, black people (especially slavery) or LGBTQ (Lesbian Gay Bi-Sexual Transgender Queer) for which fewer objects exist to draw out these themes, or it could be left open for them to respond in whichever way they choose.

Language activity

Who spoke or learnt English, French, German, Italian, Russian in the 17th and 18

th century?

What French words were used in other languages to describe artistic or cultural products?

What Asian words entered European languages in this period? Were they associated with particular types of objects?

Quiz Activity - ‘THE GOD OF WHAT?’

This would take images of classical gods and goddesses, with their emblems, and ask visitors to guess the areas of life that they were thought to protect.

This could be done as a series through the galleries with lift-up labels giving the answer and an explanation. Or, the importance of classical allusions in the decorative arts of this period could be explained in a group. Some gods (such as Neptune) might be quite widely known but others will not be and images of gods that remain a mystery even after substantial research could also be included.

Quiz Activity -‘RELATIVE VALUES’

This would be designed to help people understand just how complex the webs of family relationships were throughout Europe in the period 1600-1800, and how marriages in particular were used as political tools. The focus might be Louis XV or Maria Teresa of Austria and the people to be considered their children, siblings, and who they married or what valuable roles in the church (even ruling as Prince Bishops) might be acquired for them.

Bird Watchers’ Notebook

This could be printed off from the website or downloaded to a mobile phone before a visit

The ‘notebook’ would contain images of birds from objects that appear in the galleries, with tick boxes for those spotted and information on them. Both real birds and fantasy birds that were just invented, for e.g. Chinoiserie, ornament will be on the sheets. There will also be space to draw your own imaginary bird.


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Audio

‘Going on Tour – What you Saw’ - Short extracts from diaries and letters describing some of the most popular sights.

‘Going on Tour – Getting There’ - Short extracts from diaries and letters describing what travelling was like.

Interactive Map Of Europe

An electronic map of Europe would be used at one or two key points in the period 1600-1800, and be able to overlay a map of modern Europe so you can see how different boundaries etc have changed.

Many of the ideas were well received. Some of the more popular suggestions included:

• the interactive map of Europe: this was suggested spontaneously in the

European Heritage group and it was generally felt that it could help provide some

context in a very visual way; some commented that their geography was

somewhat rusty

• artist’s interventions: this could make the galleries seem dynamic and exciting,

and provides a sense of contrast with its ‘ modern take’

• cabinet maker’s audio: many liked the story of the ordinary workers writing a

letter describing their conditions and in part satisfied their desire for finding out

about the people behind the objects. It also helps provide the contrast between

the poor artisans and the wealthy patrons

• which is which?: it was felt that this type of activity could draw both adults and

children in to look at things in detail; it also helps equip visitors with the

knowledge to help them identify different types of objects

• faith book: for those who were interested, it was thought this could provide a

rich understanding of religions, including minority religions of the time, but not

“Even if you had them side by side and you could see them directly next to each other saying, ‘he made it, look how he’s living, he made it for him and look how he’s living’, to see the huge contrasts that there were.” (Independent adults)


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everyone was interested in religion and they were uncertain about how sensitive

some visitors might be about how their religion was portrayed. There was also

some uncertainty about the form the ‘book’ would take. The idea of carrying a

book around the gallery was sometimes not well received.

• going on tour: the idea of the personal account of someone on a Grand Tour

had the potential to bring the experience to life.

In the case of some of the suggestions, the underlying idea was interesting although the

suggested content was of less interest; examples included:

• bird watchers’ notebook: a number of respondents were not very keen on the

idea for themselves; it came across as something that would be more

appropriate for children and possibly rather complicated to set up. One

respondent commented they might find it interesting if the idea included a wider

range of items such as swords, dogs, horses etc.

• which god are you?: respondents liked the idea of a general guide to

symbolism, but felt that restricting it to gods was a mistake. They were aware

that in looking at some of the objects, symbols were being used (e.g. what

cherubs stand for) and it was suggested in the European Heritage group that a

glossary would be very useful.

“Hearing the background noise and then having someone who was there talking about what was going on and what it was like, what you can see and smell and hear, I think that’s interesting.” (Students)

“Well, as it says, ‘for adults or older students’, but for kind of somebody visiting a gallery - I don’t think I would want to. I don’t know, my eyes would definitely go to each thing that was exhibited but I may just pass this one.” (Families)


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• There seemed to some confusion between Roman gods and symbology in the

Abrahamic religions. One respondent commented that depicting gods may be

inappropriate for Muslims.

• relative values: the idea of a quiz was liked but the subject matter seemed less

interesting – this may have been because respondents felt they knew so little

about European history of this period that they would have performed poorly.

While some had had good previous experiences using audio, others were less taken by

the idea because this was not their preferred learning style; one or two felt they were

‘visual people’. It was felt that the appeal would also depend on choosing a narrator

with a suitably interesting voice/delivery and on the how the audio functioned. A

contrast was drawn between audio tours that had to be followed in sequence (often too

slowly) and those which were visitor-led ie. the audio was triggered by the object visited.

Some respondents felt a number of ideas were not intended for themselves, but were

more appropriate for children and families. This included the ‘bird watcher’s notebook’

and ‘which god are you?’ and some of the quizzes. The idea of lifting up labels was

sometimes was child-like for some.

“But symbols are more than just about gods and that’s why it threw me as I found out going on, you know the Nazi swastika was an Indian symbol and it’s interesting to find out where some of these symbols come from so there’s a lot they could play with there but just to narrow it down to symbols of god… I’m interested in symbolism because it tells us so much about ourselves as human beings as well.” (Independent adults)

“In Islam you are not allowed to do that so I think that’s dodgy ground I think.” (Students)

“Like royal families and stuff, maybe that would be interesting, but I don’t know, I think you could do a quiz on something more interesting which would appeal to a lot more people.” (Students)


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4.4 Continuing the Experience

We explored with respondents their interest in following up a visit to the galleries, for

example, by taking part in an event or via online resources. For some respondents, an

event that allowed them to go beyond a traditional museum experience would be

particularly interesting. For others, there was a sense that their experience with the

museum came to an end as they left.

Several respondents continued the idea of a masquerade ball that had been mentioned

earlier in their groups or events themed on different styles e.g. rococo (indeed, one

respondent had attended a masked ball at the V&A and found it interesting and

engaging.) It was variously seen as a charity event with the possibility of ordering your

size of costume in advance so it was ready for you on arrival or perhaps an event that

you only found out about on the day.

While some of the students liked the idea, they were deterred by the potential cost of

dressing up. However the student who had been to a masked ball at the V&A

commented that he had just worn a mask and had enjoyed it.

“In the way that we were all saying before with people actually wearing those kind of costumes and really bringing the picture to life…

… Or people could wear like replicas of them and then take the photos as like a memory.” (European heritage)

“Like a secret event and it’s very exclusive and not many people knew about it…

…And you get to hang out round the surroundings dressed up…

…I think there would have to be food and that food would have to be related to the time.” (European heritage)


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Families, in particular, had some ideas that might engage children including half term

workshops for children, various craft activities and online materials that relate to

subjects children might be studying at school.

The idea of workshops that involved dressing up was something that was felt not only to

have appeal for children; a number of women admitted that they might like to participate

too.

In three of the groups, respondents were invited to comment on a range of ideas for

activities and themes related to the galleries that might be available on the Museum’s

website. Due to time restrictions, we were unable to explore responses to these in any

depth.

“It could have activities linked with their subject at school because they do that now at school, they go on [the internet] to research. So if we are doing a certain subject, maybe history, and they have to find out something about World War II if they are year 4 or year 5, or anything to do with the Victorian era, they would go on the website. Maybe they could set up activities or quizzes on the website, if it’s not possible for a child to actually get here, they can do.” (Families)

“Yeah like workshops. I did bring my kids to one here… they did this charm bracelet or something, it was when the Sackler Centre had opened and we had all these materials and we went in and yeah, they liked it. You hung it up on this big thing that was going through, it was threaded through the whole area outside, to contribute to this huge charm bracelet. And also you could go and see something in the museum that you liked and then you could make, you know, the charm would be related to that, although my kids didn’t do that because they are a bit young for that.” (Families)


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Continuing the Experience – List of Themes

Textiles – backs, fronts, techniques and design

Gaming and games

Music and dance

Inside furniture

Ornament from Asia

V&A ‘Rough guides’ to 17th and 18

th century cities/workshops

Eating and drinking (ice cream and macaroni, coffee and chocolate, wine and beer)

Female accomplishments

Inventories for different levels of society to show what owned, how lived

Learning languages

Hunting, shooting and fishing

War in Europe

Commemorative wares

Representations of the Five Continents

Polite society

Natural history and science, menageries, pets and …

The role of the horse in court and aristocratic culture

European migration and travel

Collecting: visitors can share photos of their own ‘collections’ online

Story-telling: fairy tales, fables, myths and legends, bible stories

Souvenirs, post cards, penpals: home thoughts from abroad

Getting dressed – differences now and then

Wardrobe/furniture contents

First impressions of cities – my first visit to Paris!

The themes that elicited most interest were:

• story-telling: fairy tales, fables, myths and legends, bible stories

• getting dressed: differences now and then

• eating and drinking: ice cream and macaroni, coffee and chocolate, wine and

beer

• music and dance

• inventories for different levels of society to show what owned, how lived


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• wardrobe/furniture contents.

Several respondents made the point that they had selected ideas that played to their

personal interests (fashion, food, furniture making, games etc.). Much of the list above

reinforces the interest people have in the social history relating to the period and the

items in the galleries.


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5 Conclusions and Recommendations

5.1 Knowledge and Understanding

• Most respondents lacked any detailed knowledge of the period 1600-1800 but

had some points of reference; these included historical events, people and

personalities, artistic styles and movements (including some spontaneous

mention of baroque and rococo) and types of objects. However, not all of their

reference points were correct with particular confusion over the start and end

points such as the overlap with the Renaissance and Victorian periods.

• In a similar way, most respondents perceived Europe as encompassing the more

familiar western European countries but were less sure about how far beyond

this the boundaries extended.

• It was recognised that France was the dominant cultural centre while Britain was

perceived to be a colonial power rather than a cultural influence.

• It was also recognised that there was considerable cross-cultural influences

during this period both within Europe and between Europe and the rest of the

world.

• This suggests that many visitors will arrive with a basic level of knowledge

together with reference points which can provide a starting point, but they are

also likely to bring a number of misconceptions. The Museum should aim to

provide an overview of the relevant historical context in which the objects sit.

• Although terms such as baroque, rococo and neo-classical are likely to be

reasonably familiar to many visitors, this does not necessarily mean they know in

any detail what they mean, and even where someone has an appreciation of the

meaning, they may well struggle to apply these terms to actual objects.

• In the groups, it was noticeable that respondents became more relaxed and

comfortable once some of the historical context and the meaning of terms had

been discussed. This highlights the importance of equipping visitors with an

appropriate vocabulary and understanding when they first arrive.


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• One way of providing this could be by means of a non-didactic video; this might

depict a couple of characters in appropriate dress talking to each other –

possibly a comic interchange between a courtly type and an ordinary person

(think Blackadder). They could convey a sense of why this period in Europe was

so significant in terms of arts and design and in particular, how it impacted on the

UK. They could introduce some of the key terms and give some sense of their

meaning by for example, displaying styles of dress or a few personal objects in

those styles. They could also signpost some of the main milestones and themes

to give an overview of how the galleries hang together.

5.2 Interest in the Narrative Concept and Themes

• While the name of the galleries – Art and Design in Europe 1600-1800 – was not

inspiring, the narrative concept was very positively received and all of the

proposed themes were potentially of interest.

• Consideration should be given to whether a different title might be used for the

galleries that possibly evokes the liveliness and sense of intrigue that appealed

to respondents (this requires further research). It also reinforces the importance

of conveying to visitors the narrative scope of the galleries from the outset and

has implications for how the Museum markets and promotes the new galleries.

• While the range of themes should mean that the galleries appeal to a good

cross-section of visitors, it is important that visitors have a ‘way in’ to the themes;

key learnings here include:

− not to assume that visitors arrive with a given level of knowledge, for

example, in terms of the historical context

− ensure the needs of younger adults and families are addressed, for

example, by comparing and contrasting – either across different strata of

society at the time (e.g. rich vs. poor) or between different historical

periods (e.g. then vs. now)

− relate the objects on display to their social history – people and their

lives.


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5.3 Response to the Objects

• Levels of recognition of what an object was, where it was from, what style it

represented and so on, varied enormously.

• Lack of knowledge about an object is not necessarily a barrier to engagement –

indeed, it can foster a sense of intrigue. The key is to utilise this intrigue by

inviting visitors to look at the object more closely and ensure they are able to

discover things about it that satisfy their curiosity.

• Considerable thought needs to go into the way the themes and the objects are

integrated so that the two strands – the objects themselves and their significance

in terms of the overall narrative – is clear. Essentially, this will come down to the

methods of interpretation employed in the galleries.

5.4 Interpretation

• Most respondents were hoping the galleries would incorporate a range of

interpretation methods over and above objects, labels and text panels.

• In particular, they wanted to get a sense of what it was like to live in those times

– reflecting the importance of the social history of the objects on display.

• Re-creating rooms and spaces and opening up the original architecture of the

galleries goes some way to achieving this but respondents hoped it would also

include the use of actors, demonstrations of craft skills, the opportunity to touch

and handle objects and the use of a range of different media.

• A number of the Museum’s own ideas were well received such as:

− interactive maps to provide the historical and geographical context

− activities such as ‘which is which?’ as a way of learning which objects

represent different styles

− the cabinet maker’s audio as an example of social history.


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5.5 Continuing the Experience

• Although not everyone had any desire to follow up a visit, others welcomed the

idea of events and activities.

• Respondents did not have time to explore all the Museum’s ideas in any detail

however those that stood out as potentially most interesting again reflected

respondents’ interest is gaining insights into what life was like at that time.


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6 Appendices

6.1 Recruitment Screening Questionnaire for the Focus Groups

Hello, I'm ..........................from Creative Research, an independent market research company. I wonder if you would be interested in taking part in some market research we are conducting. We are conducting research for The Victoria and Albert Museum (V&A) who are planning to redevelop galleries devoted to art and design in Europe 1600-1800. The purpose of this research is to get the views of a range of different people on some of the museum’s ideas for the new galleries. It involves taking part in a discussion with other people like yourself, to share views and ideas. This would last for two hours. In return for your time, I can offer you £50 as a contribution towards your expenses.

RESPONDENT DETAILS

Explain that you need to record the respondent's contact details so that they can be contacted in the event of a change of plans (e.g. the moderator is ill) and also for quality control procedures. Reassure respondents that no personal details or responses will be passed on to anyone not directly concerned with the research without their express permission

Name:

Address:

Postcode:

Telephone:

INTERVIEWER DECLARATION

I DECLARE THAT THIS IS A TRUE RECORD OF AN INTERVIEW WITH THE NAMED RESPONDENT WHICH WAS CONDUCTED IN ACCORDANCE WITH THE INSTRUCTIONS AND THE MRS CODE OF CONDUCT. I AGREE TO BE BOUND BY THE DATA PROTECTION ACT 1998.

SIGNATURE:_____________________________________________________________

PRINT NAME:____________________________________________________________ DATE:_____________________________

METHOD OF RECRUITMENT

FROM CLIENT-SUPPLIED LISTS �

FROM RECRUITER’S DATABASE �

SNOWBALLING �

FREE FOUND (In Street/House to house etc) �

OTHER (PLEASE WRITE IN):______________________________________________________________________________

For Creative Research use only

Respondent ID


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KEY DEMOGRAPHICS

D1 SOCIAL GRADE OCCUPATION OF HEAD OF HOUSEHOLD:

ASK THE FOLLOWING FIVE QUESTIONS TO CLARIFY HEAD OF HOUSEHOLD INFORMATION:

IF RETIRED, ASK FOR PREVIOUS OCCUPATION, IF PRIVATE PENSION RECEIVED

IF SELF-EMPLOYED OR MANAGERIAL, ASK FOR NO. OF EMPLOYEES RESPONSIBLE FOR

IF LOCAL AUTHORITY OR CIVIL SERVICE OR ARMED FORCES, ASK GRADE/RANK

ASK FOR DETAILS OF TRAINING/QUALIFICATIONS

INDUSTRY (WRITE IN)

NOW CODE SOCIAL CLASS

ABC1 1 C2DE 2

D2 Gender: code below Indicate below group recruited to

Male 1 Group 1: Families 1

Female 2

Recruit even numbers to each group Group 2: Ind’dent Adults 2

D3 Ethnicity: ask Q3 and code below Group 3: Students 3

White 1 Group 4: E’pean Heritage 4

BME 2

2 BME respondents in groups 1-3

SCREENING

S1. SHOW CARD A Can I just check, do you or any of your immediate family work in any of the following professions or occupations?

Market Research or Marketing

1 Anything related to museums or exhibitions

4 CLOSE

PR or Journalism 2 Anything related to art and design

5

Advertising 3

CLOSE

None of these 6 CONTINUE

S2a. Have you ever attended a GROUP DISCUSSION or IN-DEPTH INTERVIEW before?

S2b. What was the subject under discussion?

No 1 GO TO Q1

Yes 2 GO TO S2b

IF PREVIOUS SUBJECT RELATED TO THIS PROJECT, THANK & CLOSE. OTHERWISE ASK Q2c

S2c. How long ago was that? S2d How many group discussions & depth interviews have you attended in the last 3 years?

Less than 6 months 1 THANK & CLOSE

1-6 1 GO TO Q1

More than 6 months ago 2 GO TO S2d 7 or more 2 THANK & CLOSE


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ASK Q1-Q2 OF EVERYONE. ASK Q3 FOR GROUPS 1-3

Q1. Please look at this card and tell me which of these apply to you. SHOW CARD B

I have visited the V&A at least once in the last three years

1 Recruit four from code 1

It has been more than three years since I last visited the V&A

2

I have never visited the V&A, but I go to other museums which display historic decorative artefacts such as the British Museum, art galleries, historic houses etc

3 Recruit four from codes 2 and 3

I have never visited the V&A nor do I visit other attractions which display historic decorative artefacts

4 Close

Q2. Please look at this card and tell me which of these apply to you. SHOW CARD C

Pre-family 1

Family 2

Post Family 3

Retired (no more than 2 early retired) 4

When recruiting group 3, recruit 2 from each with no more than two from code 2. For other groups, as found

Q3. Record respondent’s ethnicity SHOW CARD D FOR ALL NON WHITE BRITISH: record country of origin of respondent/respondent’s family

White British 1 Caribbean 7 White

White other 2 African 8

Indian 3

Black

Other Black 9

Pakistani 4 White and Black Caribbean 10

Bangladeshi 5 White and Black African 11

Asian

Other Asian 6 White and Asian 12

Mixed

Other mixed 13

Other Other ethnic group (write in) 14

Write in country of origin:


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ASK Q4 WHEN RECRUITING G1

Q4. Please look at this card and tell me which of these apply to you. SHOW CARD E

I have children all aged under 12 1

I have at least one child who is aged between 12 - 16

2

Recruit half from code 1 and half from code 2

All my children are aged 17 and above 3

I don’t have any children 4

Close

ASK Q5 WHEN RECRUITING G2

Q5. Please look at this card and tell me which of these apply to you. SHOW CARD F. CODE ALL THAT APPLY

I typically visit museums on my own 1

I typically visit museums with other adults 2

Codes 1 and/or 2 must apply otherwise close

I typically visit museums with children 3 Close unless code 1 and/or 2 also selected

I typically visit museums as a part of a formal course

4 Close even if 1 and/or 2 apply, but might be suitable for G3

None of these 5 Close


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ASK Q6-9 WHEN RECRUITING G3

Q6. Please look at this card and tell me which one of these applies to you. SHOW CARD G

I am a student aged 16-18 studying at a 6th Form

college Close

I am a student aged between 16-18 studying at a FE/HE college

1 Recruit no more than 2

I am a student aged over 18 studying at a FE/HE/adult education college

2

I am a mature student aged over 21 studying at a FE/HE/adult education college

3 Recruit 2 -3

None of these 4 Close

Q7. Ask whether they are studying:

Full time 1

Part time 2

CONTINUE

Q8. Ask whether they visit museums/art galleries as a part of the course that they are studying

Yes 1

No 2 Close

Q9. Please write in the subjects that they study. Aim to recruit a spread of subjects

ASK Q10-11 WHEN RECRUITING G4

Q10. Please look at this card and tell me which one of these applies to you SHOW CARD H

Although I am currently living in the UK, I am a citizen of another European country

1

I was born in the UK but one or both of my parents are/were citizens of another European country

2

CONTINUE

neither 3 close

Q11. Please look at this card and tell me which one of these applies to you SHOW CARD I

Write in name of country e.g. if a respondent has a French mother, write ‘France’ in the Country A box.

Europe A: 1

Europe B: 2

Europe C: 3

Europe D: 4

Recruit two from each group with only one per country


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SHOW CARD A

Market Research or Marketing

Public Relations

Journalism

Advertising

Anything related to museums or exhibitions

Anything related to art and design

None of these

SHOW CARD B

I have visited the V&A at least once in the last three years

It has been more than three years since I last visited the V&A

I have never visited the V&A, but I go to other museums which display historic decorative artefacts such as the British Museum, art galleries, historic houses etc

I have never visited the V&A, nor do I visit other attractions which display historic decorative artefacts

SHOW CARD C

I am aged 21-35, single or married, and do not have any children

I am single or married, and have one or more children under the age of 16 living with me

I am aged 36-60, single or married; all my children are aged 17 and above or I have never had any children

I am of state retirement age (60/65), or I am aged 50+ and have taken early retirement


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SHOW CARD D

White White British

White Other

Asian Indian

Pakistani

Bangladeshi

Other Asian

Black Caribbean

African

Other Black

Mixed White and Black Caribbean

White and Black African

White and Asian

Other mixed

Other Other ethnic group

SHOW CARD E

I have children all aged under 12

I have at least one child who is aged between 12 – 16

All my children are aged 17 and above, I don’t have any children

SHOW CARD F

I typically visit museums on my own

I typically visit museums with other adults

I typically visit museums with children

I typically visit museums as a part of a formal course

None of these


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SHOW CARD G

I am a student aged 16-18 studying at a 6th Form college

I am a student aged between 16-18 studying at a FE/HE college

I am a student aged over 18 studying at a FE/HE/adult education college

I am a mature student aged over 21 studying at a FE/HE/adult education college

None of these

SHOW CARD H

Although I am currently living in the UK, I am a citizen of another European country

I was born in the UK but one or both of my parents are/were citizens of another European country

Neither

SHOW CARD I

Europe A: Andorra, Austria, Belgium, France, Germany, Ireland, Italy, Liechtenstein, Luxembourg, Monaco, Netherlands, Portugal, San Marino, Spain, Switzerland

Europe B: Belarus, Croatia, Czech Republic, Hungary, Moldova, Poland, Romania, Serbia, Slovakia, Slovenia

Europe C: Albania, Bulgaria, Cyprus, Greece, Kosovo, Macedonia, Malta, Serbia and Montenegro, Turkey

Europe D: Denmark, Estonia, Finland, Iceland, Latvia, Lithuania, Norway, Russia, Sweden, Ukraine


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Give Respondent Show Card J and read out

The group discussion or interview you take part in will be:

Audio recorded and a transcription will be produced.

This card describes how the information you provide will be used and the steps that will be taken to protect your confidentiality.

Please sign below to indicate your agreement with this procedure.

Name:_________________________________________

Signature:______________________________________

Date:________________________

Occasionally, once a project is completed we may need to re-contact people who take part in a research study either to follow up something that has arisen or to invite them to participate in some research on a related topic.

Would you be willing for us to contact you in the future, should the need arise?

YES [ ]

NO [ ]


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SHOW CARD J

The Data Protection Act requires that we collect and use the information you provide to us in a manner that respects and protects your confidentiality.

Your personal details (such as name, address, phone number) will not be disclosed to anyone else without your permission other than Creative Research, the company carrying out the research.

The recordings/transcripts will only be listened to/read for research purposes. Excerpts from the recordings/transcripts may be used to illustrate the research findings. This will always be done in a way to protect your identity (e.g. comments will not be attributed).

In exceptional cases the recordings/transcripts will be listened to/read by people from the client organisation working on this project. In these circumstances, where possible we will go through the material first to delete any references to people's names or anything else that could identify them.

Anyone from the client organisation who listens to/reads the recordings/transcripts will sign an undertaking that they will respect the anonymity of those taking part.

Any other material or information generated by you, such as ideas written down on paper, will be subject to the same strict controls.

You have the right to withdraw your consent at any point in the interview/discussion. You may also withdraw from the interview/ discussion at any point. Please sign below to indicate your agreement with this procedure.


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Recruiter Guidelines

Background

The Victoria and Albert Museum (V&A) is planning the redevelopment of the galleries devoted to art and design in Europe 1600-1800.

The purpose of this research is to get the views of a range of different people on some of the museum’s ideas for the new galleries.

Exclusions

In addition to those exclusions mentioned in each of the groups, we do not want to include anyone who might have a professional interest in European art and design (codes 4-5 @ S1). The usual exclusions apply regarding repeat attendance (S2).

Group Composition

For this piece of research we will be conducting four focus groups of eight respondents. Each group will consist of a different audience type, details are given below. The groups will be 2 hours in length and held at the V&A.

Across all the groups there is an equal split of men and women (D2). There are no quotas for SEG however we would expect the majority of respondents to be ABC1.

Four participants in each group would have visited the V&A within the last three years (code 1 @ Q1), and four participants would either have visited the V&A more than three years ago (code 2 @ Q1), or have never visited but regularly visit other attractions displaying historic decorative artefacts (code 3 @ Q1).

When recruiting groups 1-3, two-three participants to be of BME heritage (D3 & Q3). If at all possible try to include at least one who is from a former French colony such as: Burkina-Faso, Burundi, Cameroon, Central African Republic, Chad, Comoros, Democratic Republic of Congo, Djibouti, Gabon, Haiti , Ivory Coast, Madagascar, Mali, Niger Republic of Congo, Rwanda, Senegal, Seychelles, Togo. The reason for this is that many of the objects and artefacts in the new galleries are French in origin.

Group 1: Family

Those who are single or married and have children.; half are to have only children under 12, and half are to have at least one child aged 12-16, although they may also have younger children (Q4).

Group 2: Independent Adults

These are people who visit museums/attractions by themselves or with other adults, not as a part of a formal course, but out of personal interest (Q5). They may sometimes also visit with children but to be eligible they must code 1 and/or 2. Exclude if visiting as part of a course, but they may be eligible for G3.


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Please recruit 2 respondents per lifestage (Q2):

Pre-family – someone who is single or married with no children; aged 21-35

Family – someone who is single or married with one or more children under the age of 16

Post-family – aged 35+; single or married; either never had children or all children over the age of 16, children may still be living in the family home

Retired – someone who has reached the state retirement age or has taken early retirement (must be aged 50+ - no more than two per group)

Group 3: Students

This group consists of people engaged in formal study who might visit museums/attractions as a part of their course (Q8). Participants in this group will be studying a mix of subjects (Q9) and these should include subjects related to the V&A such as design, art, history etc. They will be studying at FE/HE colleges (but excluding 6th Form colleges). This can include both full and part time students (Q7).

They will all be aged 16 and upwards, and the group is to have 2-3 mature students and no more that two aged between 16-18 (Q6)

Group 4: European Heritage

This group is to include a mix of non-UK citizens who are currently residing in the UK, but who are citizens of another European country or people born in the UK where one or both parents are/were citizens of another European country. For example, this could include someone who has a French mother (Q10).

There is no specific length of time they need to have been residing in the UK but they must not be a tourist.

They must have a sufficient level of English to be able to take part in a discussion group

The BME quota does not apply to this group.

Two participants from each of the following groups of countries with only one respondent from each country (Q11).

Europe A: Andorra, Austria, Belgium, France, Germany, Ireland, Italy, Liechtenstein, Luxembourg, Monaco, Netherlands, Portugal, San Marino, Spain, Switzerland

Europe B: Belarus, Croatia, Czech Republic, Hungary, Moldova, Poland, Romania, Serbia, Slovakia, Slovenia

Europe C: Albania, Bulgaria, Cyprus, Greece, Kosovo, Macedonia, Malta, Serbia and Montenegro, Turkey

Europe D: Denmark, Estonia, Finland, Iceland, Latvia, Lithuania, Norway, Russia, Sweden, Ukraine


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Directions to respondents

They are to arrive 20 minutes early to their discussion group no later than:

17:40 on Thursday 30th September for a 18:00 start

10:40 on Saturday 2nd October for a 11:00 start

13:40 on Saturday for a 14:00 start

On Thursday respondents should enter via the groups entrance on exhibition road where someone will meet them. Please be aware that this entrance is closed from 17:45 to approximately 17:55 so if the entrance is closed when you first arrive, please wait outside – someone will come and let you in.

On Saturday they should enter via the main entrance on Cromwell Road and make their way to the Meeting Point.

Be aware that at the weekends there are disruptions to public transport so this needs to be considered when planning their journey.


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6.2 Topic Guide

1. Moderator introduces him/ herself

2. Purpose of Group – To explore their views on some ideas the V&A are developing for

new galleries in the museum

3. Informal and relaxed – gain the views of everybody (but not at once)

4. The group will last 2 hours

5. Confidentiality – recording group

• Moderator asks respondents to introduce themselves/the person sitting next to them

• name, where they live

• explore briefly whether or not/how often they visit the V&A, if not are there other

types of museums/attractions they like to visit?

• Moderator displays board: ‘Art and Design in Europe between 1600 and 1800’

and explains that this is the subject matter of the galleries – for those that know the

V&A, the current galleries are now closed most of the time and will be replaced with

completely new galleries

• ask respondents what does this title bring to mind?

• any thoughts, questions, feelings, styles, people, objects that come to mind?

• moderator asks respondents to note down up to six different things that they

associate with the phrase on the post-it notes provided

• in turn, ask each respondent to choose one thing they wrote down and to share it

with the group. Explore whether other respondents had noted down or thought of

anything similar and invite them to comment

• post-it notes are displayed on the board in broad themes

• Using the output as a starting point, moderator probes:

• what is understood as ‘Europe’ at this time? – how similar/different was it

compared to Europe of today? How far did it extend? To what extent was there a


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concept of ‘Europe’ in operation at that time? What were some milestone events

or key figures and personalities?

• what are the distinctive features of art and design in Europe during this period?

Are there any styles, style setters, iconic objects or places that they are aware of?

What kind of artefacts and displays might one expect to find?

• are there any other influences on European art and design from elsewhere at this

time? From where and what form did this take?

Understanding terms and recognition of objects

• Moderator explains that they should like the group to split into pairs and look at

some cards that will have different terms, pictures of objects and people on them.

What they should do is sort the different cards into those that they

• are confident about i.e. they know what the term means, or who/what it is in the

picture

• are somewhat unsure what the terms mean or who/what are in the pictures, but

they might have a vague idea or be able to guess

• have no idea about the different terms, objects and people

• Ask each group to go through the things that they felt confident about and explore

why this is

• Ask each group to go through the things that they had little/no idea about – if they

guessed at an answer ask how they have arrived at this?

Content of new galleries

• Ask respondents to now think about the different things they might expect/want to

see in the new galleries

Probe for:

• what would they like to see/what would they not like to see


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• can they suggest any types of objects

• are there any issues that come to mind/anything to be addressed?

• different types of displays

• is there anything that would pique their interest and make them want to spend

time in the galleries?

• What are some of the different ways the content could be communicated to the

visitor? E.g. will it just be all text and objects or are there other ways of

communicating?

Narrative concept

• Moderator hands out the narrative concept to respondents and ask them to take a

few minutes reading through it

• Explore respondents initial reactions

• does it seem something they would find interesting? Is there any aspect of

particular interest?

• anything surprising?

• anything that isn’t clear/gives rise to questions?

• what do they think about how France features in the galleries?

• do they have thoughts on how Britain is presented in the galleries?

• how do they feel about seeing some of the original architecture of the building?

• Moderator explains that they will hand out a card to each of the respondents. Each

card has a different theme and brief explanation written on it. They should read it

and in a moment be prepared to briefly explain what it is to the rest of the group.

• Ask each respondent about their theme and invite other respondents to comment:

• is it clear what the theme is about?


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• what are their expectations of the sort of content the theme might cover?

• what in particular do they find interesting/less interesting about it? Why?

• to what extent do they think they might learn something new about from this part

of the gallery?

• how could the theme be presented?

Response to objects

• Moderator displays photographs of some of the different objects that will appear in

the new galleries and invites respondents to choose one that they are particularly

drawn to/relate to/engage with

• what does the object suggest to them at first glance?

• ask respondent to explain to the rest of the group what if anything do they know

about it and why they chose that particular object e.g. date or country of origin

• does it spark their interest? Why?

• if they could ask one of the V&A curators about it what would they want to find

out? they can ask anything they like e.g.

• what is it?

• what did it cost when new?

• what is its value?

• when was it made

• how was it made

• where is it from?

• what is its significance

• who made it?

• what are some of the key

influences that shaped the object?

• how might their chosen object be presented in the Museum in a way that would

encourage others to look at it?

Note: See moderator’s copy of pictures for object specific questions


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• Moderator explains that there are several way that the museum is thinking about

bringing the objects and their stories to life i.e. going beyond just text/labels.

Moderator hands out one interpretation idea on a card to each respondent. They

should read it and in a moment be prepared to briefly explain the idea to the other

members of the group. Explore:

• what are their initial thoughts on the idea?

• is there anything they particularly like about it?

• is there anything that they are perhaps less keen on?

• Once all the ideas have been discussed ask respondents to choose two or three of

the ideas that they feel are the best

Continuing the experience

• Moderator explains that they should like the respondents to think about ways in

which the V&A could follow up the visitors experience/visit to the new galleries

• Programme of Events: what type of event, what would they expect from an event,

who would they be aimed at, what would entice them to attend?

• Online resources: what would they expect to find, what might be useful for

them/others, what might draw their attention?

• Moderator hands out a list of different themes that could link to content they would

find on the V&A’s website. Ask respondents to choose four or five of the themes that

seem most interesting and ask them to explain why they have chosen those in

particular?

Summing up

• Moderator explains that they would like respondents to think about everything they

have heard about the new galleries today and to imagine that they have just visited

them

• what would be the highlights of the experience?


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• how would they sum it up for a friend that who had not visited?

• what one lesson would they like the V&A to take from the discussion and apply it

to the redevelopment?

• Thank and close


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6.3 Stimulus Materials

Understanding terms and recognition of objects

Antique

“Term used between the 15th and the 18th century to refer in a general way to the

civilizations of ancient Greece and Rome”.

Classical

‘A general term which can either refer broadly to ancient Greek and Roman art or imply

inspiration from the art of the Antique’

Baroque

“This exuberant style originated in Italy and influenced all of Europe in the seventeenth

and early eighteenth century. A sense of drama and a love of excessive ornamentation

characterise this style”

Rococo

A decorative style fashionable from about 1730 to 1770, primarily influencing the

ornamental arts in Europe, especially in France, southern Germany and Austria This

style used motifs such as shells, flowers and foliage, assymetry and a sense of

movement.

Neo-classical

A style that emerged in Britain and France in the 1750s and remained predominant until

the 1830s. The style was based on the designs of Classical Greece and Rome.


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Narrative concept

Seven galleries will lead the visitor from the main entrance round the south-west corner

of the Museum on the lower ground floor. The galleries will showcase the art and

design produced, sold, used and enjoyed in Europe from 1600-1800. They will illustrate

the continuing supremacy of France as a leader of fashion but will also show pieces

from all corners of Europe, from Portugal to Russia.

Thematically organised displays will start at the main entrance in 1600 and run

chronologically to the Tunnel Entrance on Exhibition Road. They will explore the

circulation of people, ideas and objects around Europe and between Europe and the

rest of the world in the period that saw the beginning of world trade.

The displays will show how artistic styles, such as Baroque, Rococo and Neo-classicism

were copied and re-interpreted in different princely courts throughout Europe, and will

introduce some of the most important designers and makers of luxury objects – from

Venetian glass and Meissen porcelain to silks woven in Lyon and exquisite steel

jewellery from Tula in Russia. Many of the pieces were made for rulers, including Peter

the Great of Russia and Marie Antoinette, the tragic queen of France whose life ended

on the platform of the guillotine.

The original architecture of the new galleries will be uncovered, to offer much larger,

higher spaces. In the galleries we will show the pomp and ceremony of court life and the

exquisite luxury that was provided for private enjoyments – such as the period room

displaying carved, painted and gilded panelling of Madame de Serilly’s boudoir, built in

Paris in 1778.

In particular, we hope to show how Britain gradually became a more forceful player on

the European scene, as British soldiers served in European armies, diplomats criss-

crossed Europe to negotiate treaties and alliances, and noblemen travelled extensively

on what was called ‘The Grand Tour’.


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Response to Objects – object specific questions

Peter the Great

Miniature painting showing Peter the Great, by Baron Gustaf von Mardefeld,

ca.1707.Watercolour on vellum

Portrait of Peter the Great (1672 –1725) showing him as a Western European heroic

leader in battle. Peter was the first Russian Tsar to see his empire as part of Europe

and to aspire to European court life and engagement. He travelled in Holland and

England to look at how things were done, with special interest in building up a navy to

protect his trading interests.

This type of portrait showing a ruler in fine clothes but apparently engaged in battle was

a convention in baroque portraiture.

• What are respondents’ thoughts on the presence of the black servant? Did they notice?

• What awareness do respondents have of different rulers, dynasties and empires? Are they interested in such powerful personalities?


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Mme De Montespan in a rich interior

Portrait miniature of a lady, possibly Mme. De Montespan, in a rich interior. Maker

unknown. Painted France, 1690

Mme de Montespan, mistress of Louis XIV was the prime leader of fashion in interiors in

the 1670s. This shows her surrounded by the kind of luxury goods produced in the court

workshops at the Gobelins.

Theatricality (it looks like a stage set, not a real interior) and splendour. Rich materials

e.g. gilt bronze and silver, with painted decoration and luxurious silks. This is Baroque.

• This image is full of luxury items. Do these intrigue respondents or put them off?

• This image depicts women exclusively. Are they intrigued by the absence of men, or the different roles that men and women played in this period?


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Monstrance from Augsburg

Monstrance. Augsburg. 1705, by Johannes Zeckel. Silver partly-gilded, set with stones.

It is used to show the ‘Eucharistic host’ i.e. bread, communion wafer

Illustrates the use of art as a tool of the Catholic church at a period when it was fighting

back against the protestant reformation in the movement known as the Counter-

Reformation, which produced many very fine and luxurious items for church use.

Baroque, Counter-reformation. This is art to dazzle and impress, to suggest the glory

of god by rich materials and dramatic design. Religious worship as theatre

• Do respondents understand what its use might have been? are they interested in knowing?

• Are they interested in knowing about how and where it was used? (a monstrance - a vessel to display the consecrated Eucharistic host)


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Ark curtain or Parochet

Parochet (cloth that covers the doors of the Ark containing the Torah scrolls in a

synagogue). Maker unknown. Made in Northern Italy, probably Venice, 1676. Baroque

Illustrates how Jewish communities, even when marginalised by Christian majorities,

continued to buy and commission luxury objects related to their own traditions of

worship

• Do respondents understand what its use might have been? are they interested in knowing?

• Are they aware that minority religions continued to exist in Europe through the period?


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Two vases and a clock Sevres

Sèvres was a porcelain factory founded in 1740 under the patronage of Louis XV and

his mistress, Madame de Pompadour. It was known for its beautiful ‘ground colours’

(seen here) and detailed painting of birds or flowers (not on this piece, but we chose this

for being Neo-classical). Sèvres porcelain was sought by visitors to France as well as

French aristocrats and was often given as diplomatic gifts.

Neo-classical. Forms taken from Greek vases and the formal, shell-like decoration is

also typical of repeating Greek patterns.

• How does the clock work? No apparent dial but a circular band turns round against a fixed pointer.

• Do respondents have an idea why such pieces were made?

• What kind of shapes do respondents think these are based on? Where might the style be from? Do they recognize this as based on Greek shapes?


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Meissen dish ca 1735

Dish, hard-paste porcelain, painted in enamels and gilt, made by Meissen porcelain

factory, Germany, ca. 1735

Chinoiserie. The decorations of the upper and lower sections are both based on

Chinese designs but the two designs would never have been combined on a Chinese

plate.

Meissen was the first ceramic factory in Europe to make a true copy of the Chinese

porcelain that had been a luxury import since the 16thc. The factory was under the

protection of the Elector of Saxony. The success of Meissen spurred several other

European rulers to found porcelain factories as court workshops.

• Can respondents suggest what the source of design might be? Do they recognise the source of design?


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Mosaic of the Temple of the Sybil at Tivoli

Mosaic of the Temple of the Sybil at Tivoli, Rome, probably Giacomo Raffaelli, 1775-

1800.

Neo-classical. Such classical buildings and the enthusiasm for them by Grand Tourists

were the root of the style.

The Temple of the Sybil at Tivoli was one of the most famous sites of Italy, a ‘must-see’

of the Grand Tour. It quickly became a signature image on souvenirs of all sorts of

qualities.

• Where do they think this object is from? what country is shown in the picture? Do they recognise this as Italian, even if not Roman?

• Does the term ‘Grand Tour’ mean anything to them?


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chamber candlestick by Paul Crespin

Paul Crespin was one of many silversmiths of French Huguenot origin who worked in

London from the late 17c, after this protestant group fled France after the Revocation of

the Edict of Nantes in 1685 terminated their freedom to worship. Many were skilled

craftsmen – silk weavers and silversmiths in particular.

Rococo – the curved, organic shape of this is typical of the style, as is the asymmetric

arrangement of the curves. Look for C and S-shaped scrolls on the edges. The use of

a flower for the candle-socket is typical of rococo interest in natural forms.

• Where was it made? They might think French because frilly and decorative. Would the idea that it was made by a man of French descent in London interest them?

• Any name for this style? Just a guessing game to see whether they come up with rococo


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Quilted chintz palampore

This kind of large textile would have been used to sit on, on the floor, in India, but was

soon adapted as a bedcover for European markets and the designs were adapted as

well. This has blanks at each corner, where the arms of the European purchaser could

be painted in when the bed cover was sold.

Baroque – although the design may look Indian, the large, symmetrical feather shapes

are arranged in a way which the maker would have thought of as baroque and thus

suitable to a European market.

• Do they pick up on the blank areas? can they guess what they are for?

• Do they recognise the piece as Indian?


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Panelling for Mme de Serilly boudoir

Panelling designed for a cabinet or boudoir for the 16-year-old wife of the Paymaster

General to the French army, Mégret de Sérilly.

Mme de Serilly was a lady-in-waiting at court and used Rousseau de la Rottiere, the

decorator who worked for Marie Antoinette, to design her own most intimate space.

Neo-Classical. Symmetrical decoration based on scrolling arabesques that were used

in Roman interiors, and on vases, urns, classical figures and panels imitating cameos.

• What awareness is there of the private life that lay beside formal court life?

• Are they aware of, or interested in who attended court and what they did there?


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Tapestry Art of War Series

Shows how even war could be turned into an occasion of parade and public showing of

the monarch or leader, who appeared in great splendour to assert his power. Louis XIV

was the first to have a tapestry showing this sort of subject. This tapestry probably

came from a set made for Augustus the Strong of Saxony. It doesn’t show a specific

leader but illustrates how princes led their troops into battle

Baroque. Heroic subject, and framing design made of elaborate arrangement s of

weapons, artistically arranged.

• What is shown/being represented in this tapestry? To what extent they recognize this as a way of presenting a leader, rather than illustrating war?

• Do they know what a tapestry was used for, or where it might have been used?


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Food warmer

Food warmer, tin-glazed earthenware, painted in colours, of bombé form, with lion mask

handles, Niderviller pottery and porcelain factory, France, about 1775-1785

Used with a night light to keep drinks warm for use at night or in a boudoir or cabinet

Neo-classical

• What do respondents think/imagine this is for? Suggest it may be food/drink related

• What drinks and food do they associate with this period – or consider particularly ‘European’?


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Jewel coffer

The later 18c. saw the development of smaller furniture for smaller, more intimate

spaces. This is fitted with two secret drawers, illustrating the need to hide things in a

period when life for richer people was lived surrounded by servants.

Neo-classical. Rectilinear forms rather than cabriole legs. Small-scale decoration with

repeating motifs – like the scale-like painting on the clock and urns.

• Do they understand how this works – i.e. that it isn’t just a pretty outside.

• Would they be interested in a computer interactive (online and in terminal in gallery) that shows the secret drawers?


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thermometer

Suggest the importance of science and the way it was brought into polite life by such

elegant instruments that were like ipods or other ‘must-have’ indicators or wealth.

Rococo

• What awareness is there of the role of science as a popular, elite occupation?


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Fall of the Bastille valance

Fall of the Bastille and the Confirmation of the Constitution. Valance, Cotton, designed

by Jean-Baptiste Huet, Jouy, ca. 1792

This illustrates some of the best-known events of the French Revolution on printed

cotton which was considerably cheaper than silk and thus available to a much wider

market – much like a Spice Girls duvet of a few years ago. Cotton was one of the

important imports of the 18c.

• What kind of materials might have been used to make this?

• How far do the group distinguish between the very rich and courtly materials and objects and the more middling qualities that were produced at the same time?


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Continuing the Experience – List of Themes

1. Textiles – backs, fronts, techniques and design 2. Gaming and games 3. Music and dance 4. Inside furniture 5. Ornament from Asia 6. V&A ‘Rough guides’ to 17th and 18th century cities/workshops 7. Eating and drinking (ice cream and macaroni, coffee and chocolate, wine and

beer) 8. Female accomplishments 9. Inventories for different levels of society to show what owned, how lived 10. Learning languages 11. Hunting, shooting and fishing 12. War in Europe 13. Commemorative wares 14. Representations of the Five Continents 15. Polite society 16. Natural history and science, menageries, pets and … 17. The role of the horse in court and aristocratic culture 18. European migration and travel 19. Collecting: visitors can share photos of their own ‘collections’ online 20. Story-telling: fairy tales, fables, myths and legends, bible stories 21. Souvenirs, post cards, penpals: home thoughts from abroad 22. Getting dressed – differences now and then 23. Wardrobe/furniture contents 24. First impressions of cities – my first visit to Paris!


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6.4 Quantitative Questionnaire3

The Museum is currently working on re-presenting the galleries devoted to Art and Design in Europe 1600-1800. These galleries will contain some of the most magnificent and elaborate works of art in the collections. This 'quiz' is designed to help the Museum gain some insights into what people know about some of the objects that will be on display as well as finding out how interested visitors might be in some of the themes. It doesn't matter how much you know (or don't know) about European art and design - we are still very interested to get your input. It is intended to be a very light hearted quiz - we will tell you how well you did at the end!

Before we start the quiz, we would like to find out how interested you are in some of the proposed themes for the galleries.

For each theme described on these cards (GIVE RESPONDENT SHUFFLED THEME CARDS) please tell us how interested you are using this scale (SHOWCARD A)

Empires � � � � �

Court and City � � � � �

Religion and Power � � � � �

Court Workshops � � � � �

Travel, Trade and Migration � � � � �

Learning, Leisure and Sociability � � � � �

Parade, Intimacy and Secrecy � � � � �

Revolution � � � � �

Collecting and shopping � � � � �

Performance, Pageant and Theatre � � � � �

Innovation and Imitation � � � � �

Craftsmen and Merchants � � � � �

3 The correct quiz answers are shaded.


100

Now for the quiz! You're now going to see a number of different terms that a visitor might come across in the galleries - see if you can match each term with the appropriate definition. GIVE RESPONDENT SHUFFLED TERMS Baroque A � An exuberant style that originated in Italy and influenced all of Europe in the seventeenth and

early eighteenth century. A sense of drama and a love of excessive ornamentation characterise this style.

B � A decorative style fashionable from about 1730 to 1770, primarily influencing the ornamental arts in Europe, especially in France, southern Germany and Austria. This style used motifs such as shells, flowers and foliage, asymmetry and a sense of movement.

C � A style that emerged in Britain and France in the 1750s and remained predominant until the 1830s. The style was based on the designs of Classical Greece and Rome.

D � Not sure

Classical A � A term used between the 15th and the 18th century to refer in a general way to the civilizations

of ancient Greece and Rome.

B � A general term which can either refer broadly to ancient Greek and Roman art or imply inspiration from the art of the antique

C � A style that emerged in Britain and France in the 1750s and remained predominant until the 1830s. The style was based on the designs of Classical Greece and Rome

D � Not sure

Rococo A � An exuberant style that originated in Italy and influenced all of Europe in the seventeenth and

early eighteenth century. A sense of drama and a love of excessive ornamentation characterise this style.

B � A decorative style fashionable from about 1730 to 1770, primarily influencing the ornamental arts in Europe, especially in France, southern Germany and Austria .This style used motifs such as shells, flowers and foliage, asymmetry and a sense of movement.

C � A style that emerged in Britain and France in the 1750s and remained predominant until the 1830s. The style was based on the designs of Classical Greece and Rome.

D � Not sure

Neo-classical A � A term used between the 15th and the 18th century to refer in a general way to the civilizations


B � A general term which can either refer broadly to ancient Greek and Roman art or imply inspiration from the art of the Antique

C � A style that emerged in Britain and France in the 1750s and remained predominant until the 1830s. The style was based on the designs of Classical Greece and Rome

D � Not sure

Antique � A term used between the 15th and the 18th century to refer in a general way to the civilizations


� A general term which can either refer broadly to ancient Greek and Roman art or imply inspiration from the art of the Antique

� A style that emerged in Britain and France in the 1750s and remained predominant until the 1830s. The style was based on the designs of Classical Greece and Rome

� Not sure


101

You are now going to see a number of objects that will appear in the galleries. For each object, try and answer the accompanying questions.

GIVE RESPONDENT SHUFFLED OBJECT CARDS

Man's embroidered waistcoat

What style does this waistcoat represent?

� baroque

� neo-classical

� rococo

� not sure

Silver candlestick

What style does this candlestick

represent?

� baroque

� neo-classical

� rococo

� not sure

Where was it made?

� England

� France

� Italy

� not sure


102

Mosaic of the Temple of the Sybil

What style does the Temple represent?

� baroque

� neo-classical

� rococo

� not sure

Where was the Temple?

� England

� France

� Italy

� not sure

Ivory carving

Who is depicted here?

� James the First

� Peter the Great

� Louis XIV

� not sure

Miniature painting

Who is depicted here?

� James the First

� Peter the Great

� Louis XIV

� not sure


103

Two vases and a clock; porcelain and

ormolu

Which porcelain factory are these from?

� Derby

� Meissen

� Sèvres

� not sure

What style do they represent?

� baroque

� neo-classical

� rococo

� not sure

Porcelain dish

Which porcelain factory is this dish from?

� Derby

� Meissen

� Sèvres

� not sure


104

Is there anything in particular you would be interested in seeing or finding out about in relation to the topic of the galleries - Art and Design in Europe 1600-1800?

Earthenware object

What is it?

� a tea caddy

� a tobacco jar

� a food and drink warmer

� not sure

Where was it made?

� England

� France

� Italy

� not sure

Silver object, partly gilded and set with

stones

What is it?

� a monstrance - a vessel to display the

consecrated Eucharistic host

� a reliquary - a container for relics

� an altar crucifix - the principal

ornament of the altar

� not sure

For which Church was it made?

� Catholic

� Lutheran

� Protestant

� not sure


105

Before we finish, I would like to find out a few things about you.

Gender

] male ] female

Age (SHOWCARD B)

] under 16 ] 35-44

] 16-17 ] 45-54

] 18-24 ] 55-64

] 25-34 ] 65 and above

Which ethnic group would you describe yourself as being in? (SHOWCARD C)

] White British ] Pakistani ] Chinese or Chinese British

] Irish ] Other Asian ] White and Asian

] Other White ] Black British ] White and Black African

] Asian British ] African ] White and Black Caribbean

] Bangladeshi ] Caribbean ] Other Mixed

] Indian ] Other Black ] Any other ethnic background

Do you or do any members of your immediate family (partners, parents or grandparents) originate from a European country - excluding the UK?

] Yes ] No ] Don't know ] Prefer not to say

From which European country or countries do you or your family originate? (SHOWCARD D) Tick all that apply

] Albania ] France ] Luxembourg ] Serbia

] Austria ] Germany ] Macedonia ] Slovakia

] Belarus ] Greece ] Malta ] Slovenia

] Belgium ] Hungary ] Moldova ] Spain

] Bulgaria ] Iceland ] Monaco ] Sweden

] Croatia ] Ireland ] Netherlands ] Switzerland

] Czech Republic ] Italy ] Norway ] Turkey

] Cyprus ] Kosovo ] Poland ] Ukraine

] Denmark ] Latvia ] Portugal ] Other European

] Estonia ] Liechtenstein ] Romania

] Finland ] Lithuania ] Russia

Write in name of Other European country


106

Do you have, or are you currently studying for, a degree or qualification in any of the selected industries shown below? (SHOWCARD E) Tick all that apply

Currently studying

Have a degree/ qualification

Design (e.g. practitioners in product, interior, graphics, illustration, fashion, textiles, architecture and those in the

associated buying/retail function)

� �

Performing arts (music, theatre, dance) � �

Digital Media (e.g. web designers) � �

Marketing, advertising and PR � �

TV, film and video � �

Arts & Crafts (e.g. ceramics, glass, jewellery) � �

Fine art and antiques � �

Publishing � �

Cultural institutions (e.g. museums, galleries, libraries, Arts Council etc.)

� �

None of the above � �

Prefer not to say � �

Which of the following statements describe how you visit the V&A? (SHOWCARD F)

Tick all that apply in the first column and tick the ONE answer that describes how respondent most often visits the V&A in the second column

Tick all that apply

Tick the ONE that applies

most

I visit by myself � �

I visit with other adults (without children) � �

I visit with my children/grandchildren � �

Which of the following statements describe why you visit the V&A? (SHOWCARD G)

Tick all that apply in the first column and tick the ONE answer that describes how respondent most often visit the V&A in the second column

Tick all that apply

Tick the ONE that applies

most

I visit out of a personal interest � �

I visit in connection with a course or a qualification I am studying for

� �

I visit in connection with my profession � �

Documents

Art and Design in Europe 1600-1800 - Victoria and Albert ...media.vam.ac.uk/media/documents/frontend_research_art_design1_… · Art and Design in Europe 1600-1800: Front End Evaluation