full transcript
From the Ted Talk by Thomas P. Campbell: Weaving narratives in museum galleries
Unscramble the Blue Letters
My kind of eureka mnemot came a few years later, when I was studying the art of the crutos of Northern Europe, and of course it was very much ducsesisd in terms of the paintings and the scpuetulrs and the architecture of the day. But as I began to read htsioiracl dunmocets and contemporary descriptions, I found there was a kind of a missing cnopenomt, for everywhere I came across descriptions of tapestries. Tapestries were ubiquitous between the mdilde Ages and, really, well into the 18th century, and it was pretty aprnepat why. Tapestries were portable. You could roll them up, send them ahead of you, and in the time it took to hang them up, you could transform a cold, dank interior into a richly colored setting. Tapestries effectively provided a vast canvas on which the patrons of the day could depict the heroes with whom they wanted to be associated, or even themselves, and in addition to that, tapestries were hugely epseivxne. They required scores of hlghiy skilled weavers wokrnig over extended podiers of time with very expensive materials — the wools, the silks, even gold and silver thread. So, all in all, in an age when the visual image of any kind was rare, tapestries were an incredibly potent form of propaganda.
Open Cloze
My kind of eureka ______ came a few years later, when I was studying the art of the ______ of Northern Europe, and of course it was very much _________ in terms of the paintings and the __________ and the architecture of the day. But as I began to read __________ _________ and contemporary descriptions, I found there was a kind of a missing _________, for everywhere I came across descriptions of tapestries. Tapestries were ubiquitous between the ______ Ages and, really, well into the 18th century, and it was pretty ________ why. Tapestries were portable. You could roll them up, send them ahead of you, and in the time it took to hang them up, you could transform a cold, dank interior into a richly colored setting. Tapestries effectively provided a vast canvas on which the patrons of the day could depict the heroes with whom they wanted to be associated, or even themselves, and in addition to that, tapestries were hugely _________. They required scores of ______ skilled weavers _______ over extended _______ of time with very expensive materials — the wools, the silks, even gold and silver thread. So, all in all, in an age when the visual image of any kind was rare, tapestries were an incredibly potent form of propaganda.
Solution
- courts
- discussed
- component
- highly
- moment
- apparent
- middle
- working
- sculptures
- periods
- historical
- documents
- expensive
Original Text
My kind of eureka moment came a few years later, when I was studying the art of the courts of Northern Europe, and of course it was very much discussed in terms of the paintings and the sculptures and the architecture of the day. But as I began to read historical documents and contemporary descriptions, I found there was a kind of a missing component, for everywhere I came across descriptions of tapestries. Tapestries were ubiquitous between the Middle Ages and, really, well into the 18th century, and it was pretty apparent why. Tapestries were portable. You could roll them up, send them ahead of you, and in the time it took to hang them up, you could transform a cold, dank interior into a richly colored setting. Tapestries effectively provided a vast canvas on which the patrons of the day could depict the heroes with whom they wanted to be associated, or even themselves, and in addition to that, tapestries were hugely expensive. They required scores of highly skilled weavers working over extended periods of time with very expensive materials — the wools, the silks, even gold and silver thread. So, all in all, in an age when the visual image of any kind was rare, tapestries were an incredibly potent form of propaganda.
Frequently Occurring Word Combinations
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Important Words
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