For example, attempt a vision of Strangers Hall, Norwich, in the first years of the seventeenth century as an example. The subject matter is simply one room, the parlour, but the brief is to reconstruct it as it might have been based on all of the physical, historical and comparative evidence available. A single image, a snapshot.
What's wrong with this picture? Discuss. (The Parlour, Strangers Hall, Norwich, c1600 - Image: A Masinton) |
However, in a way, these issues are trivial when compared to the intellectual issues of attempting to envisage a specific past. If the project has a well-understood range of technical tolerances, then the technical challenges can be met. Work in this area is advancing all the time, and the vast majority of scholarship in the field of visualising the past concentrates on technical issues. This is understandable because these issues are the safest. These are the ones it may eventually be possible to overcome.
Far more troubling are issues of interpretation. Even where evidence is relatively rich - where an inventory exists, where items from the inventory survive, where the room remains - understanding and interpreting this evidence is fraught with problems. Inventories have long been a chimera for archaeologists and historians. They present a beautiful, itemised report of the contents of a house. They tell you what items were found in what rooms, sometimes in lovely detail, particularly when it comes to painted cloths, tapestries, linens and cooking ware. However, while they provide a room-by-room description of the house, when the house itself survives efforts to match the room names to the surviving structure are notoriously difficult. What the creator of the inventory meant by 'little chamber' or 'parlour' is rarely certain. Inventories also only present a catalogue of items found in these rooms - not their distribution in space. If we know that the 'little chamber' contained two beds and three valences, where were they in that room? Were they piled into a corner? Were they laid out to offer the most efficient use of space? Were they arranged to put a visitor at a social disadvantage? Were they 'presented' to catch the eye? Were they rumpled and worn, bearing the marks of generations of stories? And what if some of these items do survive - if we have good material evidence? Some of these questions can begin to be answered. But trouble remains. How much has this been altered over time? What has been lost into the silence of the past? We may have a bed frame, or a painted cloth, but what don't we have?
These are issues of synthesis. Evidence exists. Scholarship, good scholarship, dealing with the evidence already exists - at least a collection of scholarship covering a collection of sub-issues and individual types of evidence. To create a visualisation of the past is to attempt a synthesis of all the available evidence in light of all the available scholarship. The resulting image is a map of all the scholarship that has gone before. It is as much a vision of our own state of understanding as it is a vision of what the space may have looked like at a point in time.
But then, what about all those places in our synthesis where we have no evidence and where we have no scholarship? Just how very much falls into these uncharted areas of the map becomes clear in the process of creating the image - and this is perhaps where the act of image creation is most valuable, the most dangerous and the most rewarding. The process of imagining a space in the past is one which is concrete and systematic. The luxury of focusing on one kind of evidence does not exist. For the parlour at Strangers Hall, floor, walls and ceiling must exist. But how were they covered? And what colours? How was the room lit and how were the objects within arranged to catch that light? With what messages and meanings did the owners fill that space? These are Exciting questions because they bring us closer to a conversation with the people of the past in this place.
But, they are dangerous questions, thrillingly dangerous because to attempt to answer them you cannot rely on evidence and scholarship alone. You must use your imagination. Even if all of the pieces of this puzzle survived - to assemble them would require imagination. But to use the imagination, and to still claim integrity, is to open one's work to criticism. It is an open invitation to dismantling and rejection.
And that's the point. A visualisation should never seek to present the past. It should invite the viewer - any viewer, to enter in and begin to engage, to pick it apart, to find the seams and cracks, and to build on these. It is to ask the viewer to find weaknesses and to see these as signposts pointing the way forward for a deeper understanding of the past.
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