Titlebook: Victoria‘s Lost Pavilion; From Nineteenth-Cent Paul Fyfe,Antony Harrison,Sharon M.‘Setzer Book 2017 The Editor(s) (if applicable) and The A

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,“The Little , of Fresco Painting”: Queen Victoria’s Garden Pavilion at Buckingham Palace,luences which ironically defined the pavilion’s aspirations to express British artistic talents and aesthetic identity. The chapter concludes by exploring Queen Victoria’s own reactions to the project as well as the building’s ultimate fate.

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Radiant Virtuality,rces and critical conjectures as much as they appeal to the historical imagination with immersive representational fidelity. What results is “radiant virtuality,” linking innovative work in immersive environments to our scholarly legacy of curating and interpreting the cultural past.

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Introduction: Experiments from Nineteenth-Century Aesthetics to Digital Humanities,al historical and contemporary frameworks. Finally, it suggests how the project gets its very rationale from Victorian contexts, including nineteenth-century notions of virtuality and the legacy of historical architecture which the . project remediates.

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Introduction: Experiments from Nineteenth-Century Aesthetics to Digital Humanities,ty to renovate it in digital space. It provides an overview for each of the book’s chapters, arguing for the significance of the pavilion across several historical and contemporary frameworks. Finally, it suggests how the project gets its very rationale from Victorian contexts, including nineteenth-

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,Architectural Histories and Virtual Reconstructions: Queen Victoria’s Lost Pavilion in Digital Spacreconstructs the pavilion’s architectural history as an expression of its time and as part of a longer tradition of design experiments in which garden pavilions play an important role. The chapter then illustrates the research and digital processes used to reconstruct the building. The research team

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,The Contested Status of the Garden Pavilion: “Perfect ‘Bijou’” or Royal Blunder?,the capabilities of British artists, the efficacy of royal patronage, and the viability of the state-sponsored project to decorate the new Houses of Parliament with frescoes. Ranging from effusive praise to blistering criticism, responses recorded by Queen Victoria, Benjamin Robert Haydon, William M

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