Podcasts about Banqueting house

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark's HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ  Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF  Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul's Church, London. William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot's Progress Plate 1. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake's Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Eight oil on canvas paintings. Sir John Soane's Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady's Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.

Terri Green talks about the writing craft and process behind her novel An Unsuitable Pursuit. Terri and I discussed writing and self-publishing an historical fiction series. Terri gave lots of wonderful advice about how and where to research, how to balance action, interiority, dialogue and description, how to use chapter headings for structure and how to balance humour with serious subject matter.Terri also has some absolute gold to share in this episode about how and when to make the decision to self-publish, along with some of the important things you need to think about before and after hitting publish.You'll find links to buy An Unsuitable Pursuit by Terri Green here.RESOURCES MENTIONED BY TERRIThe data base Terri referred to is called JStor.org. It contains mostly journals which cover the humanities, particularly history and English. You can access it through your local library or State Library. There is also a free account you can register for and read up to 100 articles every 30 days but not all articles are in the free access area.For sword-fighting, HEMA Historical European Martial Arts. Their website shows local clubs and they are very welcoming to new members. https://www.aushistoricalfencing.com/www.english-heritage.org.ukThe Shakespeare Birthplace Trust www.shakespeare.org.ukThe Globe Theatre - shadespearesglobe.com.Royal Palaces Trust (for Hampton court, Buckingham Palace, Tower of London, the Banqueting House, Kensington Palace and Kew Palace). www.hrp.org.uk They have regular exhibits and produce a lot of useful booklets you can order.V&A museum- great for looking at artefacts, furniture, clothing. They have a good online resource as does the British Museum.For writing craft, Terri recommends James Scott Bell "Write Great Fiction-Plot & Structure" and "Write Your Novel From the Middle".Maggie Lawson's colour coded editing systemAtticusWrites4Women with Pamela Cook - RWA 2024 Conference Round UpKindlepreneurNorthern Beaches Readers FestivalABOUT TERRI GREENTerri is the author of 3 novels The Swordmaster's Daughter, An Unsuitable Pursuit and The King's Jewels which make up her Sisters of the Sword series. Terri has a PhD in creative writing and has won several prizes for her short stories. She loves a bit of history, mystery and romance, prefers laughter over misery and is a sucker for stories that tug at the heart. She shares her backyard with a lot of frogs and a colony of lyre birds, and her house with her husband and a dog called Mabel. When she isn't writing you might find her sword-fighting, hula hooping or falling off a stand-up paddle board because life is too short to stay sitting down.Website: terrigreenauthor.comInstagram: https://www.instagram.com/terrigreenauthor/Facebook: https://www.facebook.com/terrigreenauthorBuy The Swordmaster's Daughter and An Unsuitable Pursuit by Terri Green here.Buy The Rewilding by Donna M Cameron here.BUILD AN AUTHOR WEBSITE COURSETo receive notifications about course dates, the free author website workshop and early bird discounts, sign up here - https://www.freshwebdesign.com.au/courseThis podcast is recorded on the beautiful, unceded lands of the Garigal people of the Eora nation.Full show notes available at writersbookclubpodcast.com

(1) A Place to Commune; (2) A Place to be Refreshed; (3) A Place to be Embraced; (4) A Place to Cherish and Preserve.

-1- A Place to Commune- -2- A Place to be Refreshed- -3- A Place to be Embraced- -4- A Place to Cherish and Preserve.

As a man, you are supposed to be a shield and strength to your wife and not abandon her to the entire responsibility. The Lord is faithful and committed to His own and will never abandon or forsake you. If your actions are not love-inspired, they will not pass God's test. Every great man must be sacrificial and be a giver of love and goodies to his household. As Jesus brings us into the banqueting house daily, are you excited about your wife and make her laugh? All the days of this year, you will never lack the LordYou are not living if you lack the love of God in you, for in no time, you may lose it. Every hindrance to you becoming a lover of God is crushed and cast out of your heart in Jesus' name.

In the fourth part of this series, Curator Lee Prosser takes us into a hidden space at the Banqueting House, once part of the great Whitehall Palace. It may not be the famous Rubens ceiling, but Lee will reveal how the roof space of the Banqueting House is a piece of living history, with a rich past and an important role for the future.   For information on visiting the Banqueting House, go to:   https://www.hrp.org.uk/banqueting-house/ 

Charles was executed on 30 January, having requested to wear two shirts as protection from the cold so that the crowd wouldn't think he was shaking from fear. Six days later, Parliament abolished the ...

"the black smudge at 2 because 2 pm was the hour when the king's head was chopped off"

Lea's vision during this mornings worship. To hear more of Lea's visions from God please visit https://www.youtube.com/channel/UCh9s5u7n8RW7aSAExK3hejw

Lea's vision during this mornings worship. To hear more of Lea's visions from God please visit https://www.youtube.com/channel/UCh9s5u7n8RW7aSAExK3hejw

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, MD of Rubber Cheese.Download our free ebook The Ultimate Guide to Doubling Your Visitor NumbersIf you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends October 1st 2022. The winner will be contacted via Twitter. Show references: https://www.hrp.org.uk/https://www.hrp.org.uk/tower-of-londonhttps://www.linkedin.com/in/cate-milton-585a8613/https://superbloom.hrp.org.uk/content/ticket-options Transcriptions: Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. Each episode, I speak with industry experts from the attractions world.In today's episode, I speak with Cate Milton, Customer Experience Programme Officer at Historic Royal Palaces. Cate shares her infectious passion for customer experience and talks us through the six-month customer journey mapping exercise they carried out with KPMG. If you like what you hear, subscribe on all the user channels by searching Skip the Queue.Kelly Molson: Cate, thank you so much for coming on the podcast today. I'm really excited to speak to you.Cate Milton: Thank you so much. I'm really just as excited to speak about anything that's customer experience. So I'm excited.Kelly Molson: It's going to be a good chat, then. But first of all, I have to ask you some icebreaker questions, so we don't get to chat about customer experience quite yet. I'm going to ask you what your favourite breakfast food is.Cate Milton: Oh my God, that's a curve ball. I don't really do breakfast.Kelly Molson: Oh.Cate Milton: I get up in the morning and I feel it's way too early for my stomach to be dealing with anything like food, so I think if I'm being good, then it's usually a yogurt or some raisins. That makes me sound a lot healthier than I am.Kelly Molson: My goodness, doesn't it?Cate Milton: I mean, today it was a blueberry muffin, so it pretty much depends what's nearby. Yesterday, it was Cheeselets. So yeah, I hope my mum doesn't listen. Her main fear of me is that I'm not eating properly, and I just proved her correct there on breakfast.Kelly Molson: Oh yeah, well, listen to this though. Although, I would say that Cheeselets are an extremely tasty breakfast, so why not?Cate Milton: Honestly, I'm addicted, and now they're coming out in the picnic boxes and every time this year my entire family's like, "Find them. Stock up." Find them for me. But yeah, it's maybe not the most nutritious start to the day, but there we go.Kelly Molson: All right. Cheeselets or yogurt and raisins.Cate Milton: Yeah, not all together. Not all together, just-Kelly Molson: A balanced breakfast. Okay. What show on Netflix did you binge-watch embarrassingly fast? Cate Milton: Oh, that's a good question. So, my absolute favourite one... I got obsessed with it during lockdown like everybody else did when there was nothing else to do... was Mindhunter. So, it's kind of about the beginning of the FBI. So, anything with that kind of psychological twist. I mean, I am the cliche millennial in the true crime and I'm there like, "Oh, what's wrong with all these people?" But, Mindhunter was so good. I think they only did a couple of series and they keep kind of promising maybe a third, but nothing yet. But yeah, I did that in about two or three days... But there was nothing else to do. Everyone go watch it. Maybe if everyone watches it, then maybe they will make a third series. But yeah, the beginning of the FBI and all that kind of profiling and where all that came from.Kelly Molson: This is on my list, because I like a little true crime-Cate Milton: Oh, amazing.Kelly Molson: ... series as well. So that is on our list to watch, so I'm really glad that you recommended that, because I wasn't quite sure.Cate Milton: So good. And Jonathan Groff is in it, because he also plays the King in Hamilton. So it's really strange seeing him do this. I think he's known for musical theatre a bit more, and then in this kind of really straight role about kind of creating that psychological profiling of kind of the worst that humanity has to offer, yeah, he's amazing. But yes, watch it, put it to the top of your list. Definitely.Kelly Molson: I will do that. Third and final icebreaker question: if money and time were no object, what would you be doing right now?Cate Milton: Traveling, 100%. But that's misleading. I'm not ever going to pretend I'm the kind of traveler with a rucksack. I need something on wheels, so I would be going places with the suitcases, not having to worry about what the cheapest airport transfer is, how to get places. I would be having a lovely time. I'd never see winter again, definitely. I'm not a winter person. I'm loving the sun. So yeah, from a very selfish point of view, rather than trying to fix the rest of the world, I would be just following the sun all year round, having a lovely time.Kelly Molson: That's fine. It's your money, it's your time, you do whatever you want with it.Cate Milton: I would also donate to charity and save the whales.Kelly Molson: Saved it. Now that was a classic millennial answer.Cate Milton: Okay, yeah.Kelly Molson: All right, Cate, what is your unpopular opinion? What have you got for us?Cate Milton: I feel like this is quite unpopular. I'm also a little bit worried that if I say it that anyone listening straight away going to be like, "Well, she has no idea what she's talking about, so I'm not going to listen to the rest of this."Kelly Molson: Don't worry. Honestly, there's been some real shockers on here. You'll be good.Cate Milton: So, my unpopular opinion is that I think that tea, coffee, and alcohol are the most disgusting things on the planet. I do not understand how so much of this country is powered by one of those three things. I can't stand the taste of any of them, so I have lived my life without any of them. Maybe it's more I've got the taste palette of a child, although there's also a possibility I'm a super taster, so I'm just very sensitive and that's probably a superpower. So actually, it's all you guys that are wrong. I've just evolved out of the universe.Kelly Molson: I love this, but this is how you look so fresh-faced as well, because you don't drink the coffee-Cate Milton: Well, I don't know.Kelly Molson: ... and you don't drink the alcohol. So we are in the wrong.Cate Milton: It helps more in the money point of view, I'm not going to lie. That definitely makes a night out cheaper, but no, any fresh-facedness is down to my very complex skincare regime that I developed over the lockdown, so that's where all the money goes instead.Kelly Molson: Okay. Not enough care days. Right, listeners, tell us how you feel about Cate's unpopular opinion. Yeah, it's an interesting one. My husband's actually teetotal at the moment. He's just gone off the alcohol. Just doesn't like the effects that it leaves him with. It really affects his mood. So yeah, he's just cut it out and it's quite liberating really, isn't it?Cate Milton: Honestly, too, I've had it all the way through, so it made uni quite difficult because as soon as anyone will meet you the first question you're having to answer is, "Why don't you drink?" But definitely in the last kind of five years or so it's not a question I get so much anymore. It's just say, "Oh, okay then." So, I think there is a general trend in people... for whatever reason. There's a whole range of reasons, like trying not to drink for a little while or deciding they don't want that in their lives anymore. It's a lot more common. So, I don't have to answer that question so often because the next bit was always, "It's okay. I've got something that you'll love."Kelly Molson: But it shouldn't be a question, should it? It's just, "I don't drink." Okay.Cate Milton: How it is. I can just about manage the super sweet, if it's really sweet. So just a lot of sugar, then I can just about nurse one cocktail for about... But it will take me six hours or so to drink it. It's not something that I enjoy and it goes down nice and smooth. So yeah, unless somebody's bought it for me because they're being nice, it's not something that I partake in most of the time.Kelly Molson: Then there's the guilt of having to drink it, I guess.Cate Milton: Yeah, exactly. I'm just there sipping like, "Yeah, no, I don't need another one. This is really nice. Thank you."Kelly Molson: Okay. Right, tell us how you feel. I don't think that's too unpopular at all, Cate. Cate, you are the Customer Experience Programme Officer at Historic Royal Palaces.Cate Milton: Yes.Kelly Molson: I want to know about this role. Tell us what it involves because I'm guessing very broad.Cate Milton: Yes, you could say that. So, yeah. So I work for Historical Palaces. I actually work across all six sites. So, I'm based at the Tower. The Tower is my home and I've got the most experience in the Tower, because I originally started in Heritage, in Operations at the Tower of London. But now yeah, I work across the Tower, Kensington Palace, Hampton Court, Banqueting House, Kew Palace, and as well as Hillsborough Castle over in Northern Ireland. So yeah, I'm kind of there looking across customer experience and initiatives across those sites, trying to make sure that we've kind of got that one standard for HRP and what customer experience means, customer service means from an HRP point of view.Cate Milton: So yeah, it is quite broad. It's anything from kind of creating our customer service standard that I did with colleagues in Operations, goodness, two years ago now, I think, just before we reopened from the first lockdown, right up to more strategic things about where we need to aim for, where we need to focus our attention, having a look at a lot of customer journeys and understanding the end-to-end journey for all our sites.Cate Milton: I am the only one in my department. I am a department all by myself, so there's a lot of advocating for what customer journeys mean and joining up bits of the organisation. Not entirely by myself: I have the support of my visitor experience group, which is our operations directors, our public engagement, director and our commercial director, and all the op scenes across the site, too. I think in Operations you know how complex the journey is, you see the whole thing. So I think they're the teams I work most closely with; as well as overseeing things that are related to visitor feedback.Cate Milton: So, there's so much data. We have so much information on our visitors and what they think, what they feel, what their expectations are. So there's a little kind of work with our customer insight manager about how we best collate that, use it, spot the trends. So yeah, and also I just get deployed, really, to any kind projects that might need... Yeah, I suppose a little focus on customer experience, and I pipe up with annoying things like, "That's not customer journey-"Kelly Molson: Not thought about this.Cate Milton: "... So can we not do that." Yeah. I'm so lucky I get to get involved in basically anything that needs that kind of customer focus, which, in a visitor attraction, is nearly everything. So, it's an amazing role and, yeah, in a great place.Kelly Molson: What a job. What a job.Cate Milton: I landed on my finger this one. It's not too bad.Kelly Molson: Well, I mean, firstly: they are not terrible places to go to work every day, are they? I mean, what a place.Cate Milton: It ruins you for life though, because if anyone says to me now that you have to go to work in an old office block, it's very much, "Yeah, so where's the armed guard outside the office door? How many draw bridges do I have to go over? How many portcullises are there to go under? None? Okay, no. Well that's boring, isn't it?"Kelly Molson: It's not for me, then.Cate Milton: Exactly. Like it's, I say, "I'm sorry. I'm a palace-only person these days." But no, honestly, it's absolutely stunning. And actually, the previous governor who worked here, who kind of gave my first chance at the tower... So he's been very much a mentor to me, but I always remember him saying that, "If you ever come to work one day and you're not just awed by where you are, then it's time to leave and let somebody else come in, because you should just never forget the sites you're working at and the kind of connection to history that they've got." Yeah, I still, I still get the kind of, "Oh my God, the White Tower." It's still absolutely... I've been here coming here on and off eight years, with different roles and everything, and I still don't get over it.Kelly Molson: That's amazing. So you still get the goosebumps, you still get the-Cate Milton: Oh, completely, completely. You just walk under an archway and there are little faces carved into the arch, and they've seen every monarch since Henry III. Every single monarch we've had, like some of the biggest events in world history, have happened within these walls or at Hampton Court with Henry VIII, or Banqueting House. Charles the First was executed outside Banqueting House. So, some real key history where it happened moments have happened at our sites, and it's amazing that we get to kind of invite people in to share those stories.Kelly Molson: Well, how did you get... because you said that this, you've really landed on your feet. This is a dream role.Cate Milton: Yeah.Kelly Molson: What did you study beforehand to bring into this role?Cate Milton: So, I started... uni-wise, I did English and history degree, and then, because I graduated in the last recession, so I ended up working in schools in Essex and as a PA, and at the time, honestly, that's all I wanted to be. I was just like, I'm happy being a PA. I like organising things." It's a brilliant job if you like organising you, just sitting there really understanding nuts and bolts of things. And then I saw the PA job advertised for the governor of the Tower of London, and the Tower has been, honestly, my favourite place in the world since I was about five or six. I have a picture my grandmother took of me at the gates, kind of just like, "Let me in, let me in."Cate Milton: So getting it was a complete, complete dream come true, but I got it based on the fact I just sat there and said, "Yeah, I just want to be a PA. That's my dream. I just want to be a PA. I've got no other aspirations." But within nine months I had made the most of an opportunity to move into Ops, and then from then on I was just like, "This is what I should do. I love making stuff happen, I love working here, I love heritage. This fits who I am. This is what I want to do." So, I was there for a little bit. I was lucky enough to run an event called The Constable's Installation.Cate Milton: So, every four or five years, the Queen nominates her representative at The Tower of London, which is known as the Constable of the Tower. We've had one since 1078, so it's not a position that many people have had. And we had this big ceremony that the Lord Chamberlain comes to to install the Constable, and I was fortunate enough to be the first woman and the first civilian to run that installation in 2016.Kelly Molson: Gosh.Cate Milton: And I mean, it's still one of the best days of my life, but I peaked really, really early. I peaked at 28. That's it now, it's all downhill for now on. But doing that mix of operations and big ceremonies and events, I was kind of pinched by English Heritage to be their event manager for a couple of years, actually working with Lucy Hutchings, who I've then been working with at Hampton Court-Kelly Molson: Oh, lovely.Cate Milton: That's been really nice. Yeah. And then, I kept an eye on what was happening at HRP, because it was very much like... English Heritage is an absolutely fantastic organisation, but I'm very London-centric, so yeah, when this role came up I had the right combination of, "I've been in Ops, I've been on the front line. I understand, I care about what that experience looks like." So yeah, I applied for the role and the mothership called me home and I came back to the Tower.Kelly Molson: Oh, goodness. That's so amazing.Cate Milton: Yeah. So, I've had a lovely time the last eight years. I've been very lucky.Kelly Molson: Yeah.Cate Milton: I've been here for the last four, and it's been such a learning curve, because we originally started with a programme called [inaudible 00:14:47] and Distinctive, which is around customer experience and that's now become a little bit more kind of business as usual. But I've learnt so, so much in the last four years and really cemented that customer experiences is the bit I love the most, that I really want to do.Kelly Molson: Oh. You've left the PA dreams. You've left them behind.Cate Milton: I know. Yeah, they've fallen by the wayside a little bit and then now it's just like, I want to run things.Kelly Molson: Bigger dreams. Cate Milton: Exactly.Kelly Molson: Bigger dreams.Cate Milton: Absolutely.Kelly Molson: There's a lot... I've got so many questions for you based on what you just talked through, but we spoke a couple of weeks ago and you talked to me about the customer journey mapping exercise that you went on with KPMG, and I was really interested in this because it is really... It's similar to what we do in digital. So, we look at user journeys and we plot out where people are going to go on the site and what journeys we want to take them on, and it sounds very similar, but obviously it's in the real world. And I wanted to get you to talk that through. Tell us how you go about that. What was the need for it, to start with?Cate Milton: Yeah. So, customer journey mapping is such a vital tool for understanding the entire end-to-end journey for your customers. For example, at HRP sites we had departments who are kind of looking after individual touchpoints of our customer journey, particularly on site. But, in order to make the journey as seamless as possible and to be the best possible experience, it's essential that all of those touchpoints link together beautifully and they don't kind of jar that one department wants to do things this way and another does it this way, and... It just gets a bit jarring to go through that journey.Cate Milton: So, the customer experience overall suffers a little bit. But when you're looking at customer journey map, it really gives you that picture of this is where our customer starts, and this is the kind of thing that they're feeling, these are emotions, this is what their expectations are, and then takes you through every single touchpoint, right until the end, which is in, our case, they've gone offsite. What kind of post-visit relationship do we have with them after that?Cate Milton: So, for us it was very much the ambition to visualise that, to map that out, to get a, I suppose like a Bible of customer experience where everything is in that one place, so we can all be working to the same document, we can all understand the same thing, have the same vision, and really start kind of picking out those areas that we could focus on to improve what is... don't get me wrong... already an excellent visitor experience. We are some of the most amazing sites, some of the most amazing front-of-house teams. So it's going from good to great, rather than, "Oh my God, this is horrendous. We need to fix this."Cate Milton: So it's just where those little areas are that we could push ourselves kind of up a little bit more. So yeah, we got the help of KPMG to do that, because it was, it was not an approach that HRP had had done previously, so we needed that kind of outside consultancy, advice on how to go about that. And yeah, we worked with them on the processing of gathering all the information, the data and insight that we had, which was a mammoth task. We have a lot. We have all sorts of kind of surveys that are done about different exhibitions, or exit surveys. We have the ALVA benchmarking. There's so much information that we have just dotted around at different places, so trying to bring that all together to understand the picture that our visitors have been telling us, the information is there: what they want to see, what their expectations are, motivations, what they need on site. So, it's all that information.Cate Milton: We also ran workshops and did service safari. So, that is essentially taking a cross-palace team and kind of giving them a role for the day, giving them a persona. So, for example, you're the Walker family today. So, get your mind... We did some empathy mapping to really get people's minds into, "I'm a family. I've got a young child and a slightly old child, what do I need? Have I got buggy? Have I got to take things, am I going to need changing rooms?" All those kind of considerations. So, we gave people different personas so they could really kind of connect with some of our general groups of visitors. This is one of the frustrations, because you can't cover everybody. You do have to be very general, and there are going to be gaps in that, but some of that you can kind of cover off later. But yes, we did these service safaris and got our teams to do a visit, and to start looking at things from a visitor's point of view.Kelly Molson: That's so interesting. So, it is your own internal team that you take through this process?Cate Milton: Exactly, exactly. And it was always important to make sure that we had other members of staff who aren't used to that particular site. So, with KPMG we did Kensington and Tower of London, and it's one of those things with the best one in the world: you get blindness with your own site, because you see things day after day, you know what you're trying to focus on, what you're trying to improve, but sometimes you just stop seeing some of the things; stop seeing through the trees kind of thing. So, it's really helpful to get those other members of staff that aren't there every single day, and it's fascinating what comes out, and it's so useful for members of staff to really see like, "Oh yeah, why are we expecting us to do that?" Or, "That's actually quite difficult. Why are we doing it like that?"Cate Milton: It's so useful, and honestly, I mean, even if it's not a process, the customer data mapping is not a process that other organisations want to go through, I completely recommend doing service safaris. It really opens people's eyes. But we also had a lot of kind of one-to-one conversations with members of staff from across the organisation, and one of the most important groups in that was front of house. Visitor feedback is essential in understanding what our visitors want, and their opinions on stuff, but a lot of stuff that we got, for example, in our CRM, where visitors have contacted our contact centre, that's either the stuff that they absolutely love and is amazing or the stuff that's really upset them.Cate Milton: There's a massive gap in the middle there that our front of house team see every day in terms of minor irritations. It puts friction in, but it's not enough for someone to complain about. We need to look at that stuff as well. That's the everyday stuff that just jars with you a little bit. You just think, "Oh, that was a bit rubbish." And that stays in you. It might not be that's something you want to complain about later on, but it's still that you're going to go to friends and sort of say, "Yeah, it was good. I mean, this bit was a bit annoying."Cate Milton: So, it's so important to engage front of house teams to kind of have spies on the ground, to know what they're always asked about, to know the visitors always go the wrong way in this bit. Is it clear what room they're in? Is it clear where the toilets are, if the map's okay? So, we did quite a bit of work about talking to those guys, as well. And it's just kin of collating all of this data that everybody's got. It's just a matter of putting it together and, yeah, putting it into this, this tool that shows you what's happening at at each touchpoint. The most valuable thing, I think, the snapshot that comes from it, is the emotional journey of the customer.Cate Milton: So, obviously what you want in an ideal world is that they come in feeling okay and they leave thinking, "This is the most amazing thing. That was great. I loved every connection I had with that organisation." And that's what you're aspiring to, as well as everything nice and green and happy in the middle. But, that emotional journey graph really gives you a snapshot of, "Oh, okay. Well, things are dropping a little bit here. What going wrong here, or what can we improve here, or how has something earlier on not set this up properly? And if we fix this, is this going to effect later on?" So, it's such a valuable tool to really get that idea of what our visitors, what our customers are actually going through.Kelly Molson: That's epic though, isn't it? I mean, the amount of information that you need to have for that, and to do it really well, too. How long does a process like that take?Cate Milton: So, in terms of the data we already had, obviously we were talking kind of years of data. Customer journey mapping, you could either do it as a snapshot of the current state, or you can be a bit more aspirational and do it as a snapshot of kind of where you want to get to. It's most useful, really, to kind of have a combination of... to have two. But yeah, for us it was doing an in-depth audit of all the bits of information we had, making sure that KPMG had access to that, and we went through it with them about what this means, what this doesn't. There's also that kind of complication of, well, something exceptional happening three years ago. That means that's skewed that data a little bit.Kelly Molson: Right.Cate Milton: So what can we look into that is the kind of justification. So, for example, if our ticketing system had a blip and we get loads of complaints about that, we know that, we've solved that, and we don't need to worry too much about that, but we maybe need to record it's annoying if the ticking system has a moment. But overall, I mean, it took us maybe about six months to do with KPMG and kind of getting through all these stages of looking at the visitor staff, looking at the employee staff, looking at which departments feed into which parts, and also just identifying all the touch points. I think we've ended up with something around 70 to 80 individual touchpoints from start to finish on an onsite journey.Cate Milton: So that's only what we're talking about when visitors actually come online on site. We also have, like you were saying earlier, digital journeys that our digital engagement team look at. We have membership, we have schools, we have people with accessibility requirements. They all have a different journey.Cate Milton: There's all sorts of different things to layer on top of that you can kind of factor in. But, it was, it was very in depth and just absolutely fascinating, and a really good opportunity to kin of get everyone on board the same thing as well, and to get departments that kind of sit alongside each other, but maybe don't overlap so often. Or, we're the same as many other organisations, multi-site organisations that sometimes silos or kind of barrier, and doing things like this really starts to show everyone how they're part of the entire, and that cross-department working is really, really useful.Kelly Molson: Yeah, it's re-engaging the internal team with the visitor as well, isn't it, because you've put them in their in their shoes-Cate Milton: Absolutely.Kelly Molson: ... and you've mentioned empathy. What was it you called it?Cate Milton: Yeah. So, we did some empathy mapping, where essentially we kind of, before we sent people out on that service safari we gave them these personas and we gave them kind of questionnaires about, "What do you think this person or this group of people is looking for? What do you think their main considerations are? What do you think their main worries are? What do they need on site? What they trying to get out of it?" I mean, KPMG made us, created us some personas that combined things like our cultural segments, as well and making sure we've got that overlap between motivations and needs. Personas are a key part of customer journey mapping, and yeah, kin of creating... Say it's the general kind of average visitor, which is incredibly difficult for a lot of sites, because we've got-Kelly Molson: They don't exist, do they?Cate Milton: Exactly. Do you know what I mean? We've got people from all over the world or different backgrounds, so that is a difficult thing. But, I think one of the other things to kind of bear in mind with customer journey mapping is you don't want to get analysis paralysis. I suppose you don't want to kind of get into that mindset where you are kind of analyzing so much that you don't just get something done. It is so important to get started because the thing with customer journey maps is they're not static documents. That's not it. You don't create one and then, "Oh, we're done now. This is what it looks like."Cate Milton: You take it, you learn from it, you update it, you review it, you take kind of opportunities from it. You look at how else you can track and wonder about trends, so if you can prove something you kind of keep an eye on feedback, see it and re-improve that. So, it keeps moving. That's its value, is that it's a live document that you keep updating to see how the journey moves and where the weak points get to, and eventually you end up with just five across the board and you're like, now you're done. Now you-Kelly Molson: I'm sure that is not the case.Cate Milton: No, I don't think so.Kelly Molson: You went through this process six months. Actually, yeah, that was interesting, because I thought that you were going to say it was longer. I was expecting you to say it was a year's process.Cate Milton: Yeah.Kelly Molson: So, six months. What were the outcomes from that, and what have you had to improve because of it?Cate Milton: So, I think one of the biggest outcomes... Because I should also say that we, the delivery of this, got pushed forward slightly because the end of the world happened. So, we kind of got to spring 2020, getting to the point where we were just about to understand everything there is to know, and then obviously it just disappeared.Kelly Molson: Right? The world went, "Ah-ah-ah-ah."Cate Milton: Yeah, exactly.Kelly Molson: "Ready or not."Cate Milton: Like, "Okay then, so there's no customers to improve the experience of right now." So, that obviously put a pause on things for a little while, but one of the biggest things I think it gave a focus to, which is one of the major outcomes, was like you said, kind of helping people refocus on the visitor, on the customer. What it meant was we were able to demonstrate that operations really have ownership of that entire journey, and we have kind of... I mean, they're a bit more than subject matter experts, but like our interpretation teams, our curatorial teams, they support Ops and Ops support them to deliver.Cate Milton: But, it was just really important that we started moving towards an organisation where operations control and own that end-to-end journey, so that someone does and so that there's consistency in delivery, so that we aren't switching back and forth between different departments, which, internally we can work like that. That's fine. We understand about how it's this person interpretation and it's this person, but we don't want our visitors to feel like there's effort between touchpoints. They see it as sterile palaces, that's what we need to present it as. So, it made sense for operations to really kind of, I suppose, step up and take ownership of that, and our structure now reflects that as well.Cate Milton: So, I think in terms of kind of outcomes, it was a lot of kin of realisation of how best to run a customer experience. And also, just the fact that, like I said, we had so many different overlaps of things, and it kind of starts drawing out as well the themes throughout the entire organisation, but also there's places where the palaces, are different and there's a balance to be struck there about, they have to be different. They tell different stories, they have different personalities, but we want it to be an HRP standard, so how does that apply to each of the different sites?Cate Milton: So, after we did Tara Kensington, we've also got a ticketing journey map as well. I've just done the Hampton Court one. So, for the first time HRP has done a customer journey map by themselves, so I went out and did the Hampton Courts customer journey map, and we'd just come to the conclusion of that and fed back to the workshop group. So, kind of having that learning about how to approach these things, how to do it, how to be sustainable on our own so that we don't have to keep going back and say, "We've got another one. Can you help us do another one?" Yeah, and hopefully we'll be able to do Hillsborough and then go back and start, as I said before, layering the schools and community visits; absolutely layering accessibility.Cate Milton: A colleague of mine made the really good point that that should be a priority for us, and 100% agree. Some of our sites are incredibly challenging for people with different access requirements because they weren't built that way.Cate Milton: Tower London in particular was built to keep people out, rather than welcoming two million or so visitors. So, there's challenges around that, and I think any other historic site would sympathise with that. So, I think it just kind of focused us, really. It focused us on what we can do for customer experience, and that it's an ongoing thing. It's not a, "we'll do it, we'll fix it, we'll move on." But also just the fact that... I think I've said briefly before that it's not about fixing individual touchpoints, and the best example, I guess... I keep wheeling out this one example to everyone to demonstrate it. It's where we've kind of, as everybody has moved to a more online ticketing model... Because that's the fluid expectations of customers, that's what people expect. They want to be able to self-serve and be able to sort themselves out. Great. We're brilliant, we're on that, people can do that.Cate Milton: But the problem is that if we are moving to that model and the majority of our visitors are booking online, when they turn up onsite, if they come to the West Gate at Hampton Court, the West Gate at Tower of London, they haven't had a chat with our great admissions team, so they haven't had a chance to orientate themselves. They haven't had a chance to be given a map and be told what's going on that day. They've kind of been able to skip that and go straight to a gate. So it's kind of, okay, so we've made that bit better and more seamless, but now we've moved a problem further down the line. So, it's understanding the changes to one touch point and how that impacts the rest of the journey. You can't just fix one thing in isolation and think, "Excellent, that will be up and green now," without considering its position in the entire, in the rest of the journey I think.Kelly Molson: That is such an excellent point, isn't it? You can't fix one touch point without it impacting another.Cate Milton: Absolutely.Kelly Molson: And how do you monitor the impacts when you do?Cate Milton: Yeah.Kelly Molson: Oh, goodness. I was going to ask you what was your biggest learning from the process, but it sounds like one of the biggest learnings was being able to do it yourself.Cate Milton: Yes. I don't have to do it now. No, it absolutely was. I was so valuable to watch the the guys from KPMG, because in terms of consultancy support they are some of the best, KPMG, some of the best in that kind of area of customer experience. So, it was amazing to kind of go through that. Also kind of understand some of the psychology behind it, and what we're trying to achieve and why, and even kind of watching them watching our visitors up on Tower Hill and understanding how they're moving, and how we might be able to improve that, and where their hesitations are, and what might be going on. That kind of understanding, that psychological factor, was so useful... so, so useful for me taking it on boards and taking it further for the organisation.Kelly Molson: Do you think as a result of this, as well, that the internal teams work better... Even though this was a process to help improve the customer's experience... do you think it's actually helped the internal teams?Cate Milton: Oh, completely, 100%, because it's now something we've got to refer to and they can see where they fit in. And that's not to say that people didn't realise that before, and it's absolutely not to say that everyone was just working in their own little kingdom before, but I think it gives a central focus point.Cate Milton: And so, the end of the world got in the way the little bit, so we are looking now to kind of... Now we've got the Hampton court one and we're putting in place the process for reviewing that, for reviewing our kind of customer experience backlog documents that we now have for each palace, to understand we need to get on with this area, this element. So for example, Hampton Court, we need some better signage in the car park, so we can get on with that first. That's a priority. We know that's a, that's a pain point.Cate Milton: So, we've kind of got these lists and we're putting in place this process for reviewing those, keeping us, holding ourselves to account, making sure we're getting on with things as and when we can; the same with, basically I guess, every other kind of museum, gallery, heritage attraction resource and funding is an issue for us at the moment. So it's just understanding kind of where those priorities are. But yeah, understanding that process and how we review it, and bringing all of those departments in and kind of working together on how we fix things or improve things, I think, is definitely going to be getting better and better as we go on. We're kind of about to relaunch it, in a way, now that we've got the Hampton Court one as well.Kelly Molson: Yeah.Cate Milton: Because it's taken a while for everyone to come back to work, to find their feet again. I don't know about anyone else, but it took me a long time to be able to focus for any more than five minutes at time, so now that we're back there and it's starting to look a bit more normal. We can really start kind of launching that, making sure the entire organisation understands what we've got, why we've got them, and how we intend to use them. So, that will be kind of a job for this summer and into the autumn.Kelly Molson: I mean, what a great experience, what a great process to go through, and it's had so many incredible outcomes.Cate Milton: Yes.Kelly Molson: What would be your top tips for any organisation that's about to embark on something similar?Cate Milton: I think that the most important thing is involve your colleagues, and involve them early. A lot of people... Obviously, there's always going to be demands on kind of time and energy, but making sure that people understand early how important they are to, and how important their work in their departments are to understanding everything is vital, and organisations can only be stronger for it. I'd also say in terms of our kind of visitor attraction organisations, front of house teams, making sure that their voice is absolutely heard, because it's one thing for somebody who's in the back office, tapping away, to start coming and saying, "We think this, and we're going to fix it with this," if you haven't actually asked the guys who are out on the grounds, answering the question of where the toilets are for the 50th time in hour.Cate Milton: So, I think that was the biggest thing for me, was making sure to whatever extent that you do customer daily mapping... because you can do a pretty informal version. You can take it to the extent that we did, but it's make sure that your front of house teams are heard and are a big part of it, I think.Kelly Molson: Good tip. Weirdly, that's where we go and start, as well, from digital perspective-Cate Milton: Oh, really?Kelly Molson: ... because people often think that you just talk to the marketing department because that's who you are engaged with, that's who's brought you on. But for us to understand where digital can support the organisation, we need to understand what challenges front of house are having, and then bring the two together?Cate Milton: Completely that.Kelly Molson: Completely. So glad. I knew we'd be aligned, Cate. I knew you would be. Right. We need to talk about Superbloom.Cate Milton: Yeah.Kelly Molson: I mean, spectacular. You're in the midst of it right now. For anyone who's watching this, or anyone who's listening to this and not watching the video... Why aren't you watching the video, because we are fabulous. Cate's in a high-vis jacket right now because she's actually on site-Cate Milton: Yep.Kelly Molson: ... in the midst of Superbloom.Cate Milton: Absolutely, yes. I'm out there as an event coordinator today. So, yeah, running around looking after our volunteers and our visitors, making sure that everything's running smoothly and, yeah, everyone's happy, which is a lot easier in beautiful sunshine like this.Kelly Molson: It is a glorious, glorious day, and it is an absolutely spectacular show piece, what you have there, so congrats on pulling it off.Cate Milton: Thank you so much. I mean, I can't take really any credit for it. Honestly, it's our interpretation teams have been working on this for about three years. It's been a really long buildup to the project. The work started onsite in about October, and then there's been a lot of, kind of, since I think late March, early April, a lot of kind of staring at soil, kind of like, "Are we okay? Are they coming?"Kelly Molson: "Please work."Cate Milton: And the thing is... I mean, honestly, I can't even explain what an amazing job they've done, and there's something like 20 million seeds planted in that moat, so that the scale of it cannot be underestimated.Kelly Molson: Gosh.Cate Milton: But yeah, we got there, we opened officially on the 1st of June just in time for the Jubilee weekend, and it was something that we learned from our commemorations of World War I's, for both the poppies and the flames: that the public really liked having the Towers as kind of a place, essential place to come and take part in national events. So, that's kind of where the thought came from about celebrating the Queen's Jubilee, with that kind of changing the moat again. We've upgraded from ceramic poppies to the real thing. There's a wonderful scattering of California poppies down there at the moment, so it's looking absolutely stunning. We've got everything from different smells going on, there's music down there, which honestly is so Zen. It's my favourite place to be. I'll just go walk through like, "I'm so calm right now. There is no City of London out there, there's no traffic. I'm just in the bed of flowers and this amazing music."Cate Milton: But yeah, it's been going really well, and yeah, it's one of those times where you just realise how strong your teams are. We've got kind of event coordinators who all have other jobs, that volunteered to come out and help on their days off or alongside their regular jobs. We've got volunteer coordinators who are mostly our front of house teams, who, as anyone will know, in a summer it's so busy onsite anyway, and then for them to offer to come and help in Superbloom on days off is incredible. So, it does... Yeah, without being too kind of gooey about it, it makes you really proud to be part of an organisation that kind of has the vision to do this and then moves forward and actually does it. And we also have a slide, which is-Kelly Molson: Oh, well, I mean, if you weren't sold before Cate mentioned the slide, I mean, tick. I'm there.Cate Milton: Come and slide into the moat. Do you know what, it's the most joyous thing. The kids love it, obviously, but my absolute favourite thing has been watching adults. We have grandmothers going off and going down, and it just... I want to be like them. I want to still have that kind of, I think, playfulness, but I'm kind of closer, a little bit closer, to the end of my run on this earth, but-Kelly Molson: Oh, phenomenal, yeah.Cate Milton: Absolutely. Yeah. It's a great event, and it's just something completely different in the city, and it represents the biggest change we've made to the moat... or, not HRP, but has been made to the moat since the Duke of Wellington drained it in eight, I think 1843.Kelly Molson: Okay.Cate Milton: So, since then it's been mostly turf. It's been kind of used for other practicalities, like allotments in World War II and so on, but yeah, it hasn't been changed to this extent since then, so it's a big mark in the history of the Tower, as well; as well as kind of acknowledging the Queen's achievement, and just helping the biodiversity a little bit of city of London, as well.Kelly Molson: Yeah.Cate Milton: One of the best bits is you are walking through the flowers, if you stop and look, they're moving. There's so many pollinators and wildlife in there. It's just, yeah. It's amazing. It's a very kind of wholesome, grounding, life isn't so bad kind of place to be.Kelly Molson: Yeah. I mean, Cate, you've absolutely sold it. Absolutely.Cate Milton: Oh good, everybody come.Kelly Molson: Everyone go visit. I mean, how could you not after that? Cate, thank you so much. It's been such a pleasure to talk to you. We always ask our guests to recommend a book, a book that you love, that you'd recommend to our listeners. What have you got for us?Cate Milton: So, this was so hard, honestly. I was sat there looking at my bookshelves because I've got everything from basically every book that's ever been written on Henry V, because I'm a geek on that side of things. I think one of the ones that kind of really woke me up to understanding the psychological side of customer experience a little bit more was Thinking Fast and Slow, which most people in this environment, I'm sure, have read or heard of. But, it's a great way of understanding what's going on in people's minds when they're just going around their everyday life. So yeah, that's been so helpful in terms of working out how to make things more seamless and making sure that people can do things automatically, and it's intuitive and obvious, which means the bigger part of them is free to enjoy and be happy and be excited about where they are.Cate Milton: So, I think that's definitely a big one for me. But, from a kind of personal side of view, if I'm not looking at heritage, then whales and dolphins are my absolute, absolute passion, and there's a book, called Leviathan, by Philip Hoare, who's... He's also a whale fanatic, and it's just his relationship with understanding the oceans, understanding kind of the history of whales, of whaling, the changing relationship between humanity and whales. It's my absolute favourite book. So yeah, if you want something a bit out there, a bit random, then Leviathan is an amazingly well-written book.Kelly Molson: That sounds beautiful. Well, I mean, neither of those books have been recommended on the podcast before. This is really interesting.Cate Milton: It's like, Thinking Fast and Slow, I was just like, I feel like everyone would've said that one because it's, yeah. The chapters are really short. It's kind of a concentrating read, but absolutely, it really sets out how humans think and why we are as we are, so I think it's really, really valuable in terms of thinking about customer experience.Kelly Molson: Yes, great. I'm absolutely amazed that nobody has recommended it before, but, right. Okay. So we... Well, Cate has blown my marketing budget, like most people do. So, we'll give you two books to win this month.Cate Milton: Thank you, thank you. Sorry about that.Kelly Molson: You know what to do, listeners: head over to our Twitter account, find this episode announcement, and retweet it with the words, "I want Cate's book..." Uh, books because there's two.Cate Milton: Yeah, sorry. Sorry.Kelly Molson: And you'll be in with a chance of winning them. So, go over and do that. Cate, it's been such a pleasure. Thank you.Cate Milton: Thank you so much. I honestly, I'm such a geek on this stuff, so it's so nice to have an excuse to talk about it.Kelly Molson: I've loved it. Well, feel free to come back on any time and talk more about it, because it's been a delight.Cate Milton: Thank you so much.Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five-star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast.  

Inigo Jones is the architect best-known for the Banqueting House on Whitehall, one of the icons of British state architecture. He is less well known for the domestic buildings, the ‘architecture of necessity' commissioned by the early Stuart monarchs and their consorts, most of which have been demolished and forgotten. New research into Jones's work for the early Stuarts throws new light on architecture and court life especially in the 1630s in the lead up to Civil War.A lecture by Professor Simon Thurley.The transcript and downloadable versions of the lecture are available from the Gresham College website:https://www.gresham.ac.uk/watch-now/inigo-jonesGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegehttps://www.gresham.ac.uk/watch-now/inigo-jones

What was life like in 1649-1660, Britain's only decade as a republic? This lecture explores the immense changes of the period through the personal experiences of prominent figures. It argues that, despite the failure of the republican project and the Restoration of the Monarchy in 1660, the decade forged the British Isles and created the conditions for the commercial and colonial prosperity of the centuries that followed.A lecture by Dr Anna KeayThe transcript and downloadable versions of the lecture are available from the Gresham College website:https://www.gresham.ac.uk/lectures-and-events/revolutionary-decadeGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.ukTwitter: http://twitter.com/GreshamCollegeFacebook: https://www.facebook.com/greshamcollegeInstagram: http://www.instagram.com/greshamcollege

The Stuart period is marked by decadence and debauchery. Experience the Stuart court in all its nuanced splendour in this series complied from our archive. In this talk historian Dr Anne Daye explores an elaborate form of entertainment at the Stuart court - the Masque. Combining dance, theatre and a fancy dress ball, masques were staged regularly at the Banqueting House in Whitehall. For more information on the history and stories of our palaces visit: www.hrp.org.uk/history-and-stories 

Sunday Morning Service - Pastor Jeffrey James: The Banqueting House

On the 30th January, 372 years ago, Charles I, king of Great Britain and Ireland, stepped out of the Banqueting House in Whitehall, to be beheaded in front of a huge London crowd. It was a deeply shocking moment not just in the lives of those people who witnessed it, but also in the longer span of British history. But the regicide didn't just happen out of the blue, it was part of a truly revolutionary period - one that experienced civil war, regime change, religious upheaval and, for the only time in British history, a period of republican government.Rebecca Warren, an early modern historian who specialises in the history of the church during the British civil wars and interregnum between 1640-1660, joins Dan on the podcast. They discuss the reason king and parliament went to war, the Battle of Preston in August 1648 as a turning point, the day-by-day details of the trial, and how the image of Charles as a martyr became immediately fostered as a result.If you'd like to learn more, we have hundreds of history documentaries, ad-free podcasts and audiobooks at History Hit - subscribe today! To download the History Hit app please go to the Android or Apple store. See acast.com/privacy for privacy and opt-out information.

On the 30th January, 372 years ago, Charles I, king of Great Britain and Ireland, stepped out of the Banqueting House in Whitehall, to be beheaded in front of a huge London crowd. It was a deeply shocking moment not just in the lives of those people who witnessed it, but also in the longer span of British history. But the regicide didn't just happen out of the blue, it was part of a truly revolutionary period - one that experienced civil war, regime change, religious upheaval and, for the only time in British history, a period of republican government.Rebecca Warren, an early modern historian who specialises in the history of the church during the British civil wars and interregnum between 1640-1660, joins Dan on the podcast. They discuss the reason king and parliament went to war, the Battle of Preston in August 1648 as a turning point, the day-by-day details of the trial, and how the image of Charles as a martyr became immediately fostered as a result.If you'd like to learn more, we have hundreds of history documentaries, ad-free podcasts and audiobooks at History Hit - subscribe today! To download the History Hit app please go to the Android or Apple store. See acast.com/privacy for privacy and opt-out information.

"Fire! Fire!!"

Elder Ronald turns to Song of Solomon where we find “He brought me to the banqueting house, and his banner over me was love.” House often means a structure for dwelling, but it can also mean a family. But the … Read More The post Elder Ronald Lawrence – The Banqueting House appeared first on Little Union Primitive Baptist Church.

The court performances of the early seventeenth century presented an image of perfect political harmony; but backstage the reality was very different. A viewpoint originally made for Placecloud. Address: Banqueting House, Whitehall, London SW1A 2ER

Let's be clear on the fact that the Bible is clear, there are two sides to things, and we should proclaim them whenever possible. Resources What is the doctrine of the perspicuity of Scripture? Martyn Lloyd Jones: Great Biblical Doctrines (all of them are on this list) RC Sproul: For the Doctrine of the Trinity Thomas Boston: The Sinfulness of Man's Natural State, Doctrine of Sin (Read by Carlton Pruitt) Truth for Life (Alistair Begg's ministry) Rico Tice preaches the Doctrine of Hell in this sermon called “The Reality of Hell“ WA Criswell Great Doctrines of the Bible pdf called The Night Watches by John MacDuff here, exploring, The Glory of God, The Immutability of God, The Omnipotence of God, The Omnipresence of God, The Wisdom of God, The Holiness of God, The Justice of God, The Love of God, The Grace of God, The Tenderness of God, The Patience of God, The Faithfulness of God, The Sovereignty of God, The Providence of God, The Word of God, The Ordinances of God, The Spirit of God, The Promises of God, The Warning of God, The Chastisements of God, The Invitations of God, The Consolations of God, The Paths of God, The Secret of God, The Name of God, The Favor of God, The Jewels of God, The Judgment of God, God's Banqueting House, The Presence of God, God's Closing Call. Biblical Doctrine: A Systematic Summary of Bible Truth, John MacArthur Systematic Theology: An Introduction to Biblical Doctrine. GotQuestions: What is Dogma? This episode is also available as a blog post: http://the-end-time.org/2021/09/09/dont-be-so-dogmatic/

From special summer food to the Banqueting House, and from harvest days to feasting, Tudor summers were a time of working hard and celebrating. Brigitte Webster, owner of Tudor and 17th Century Experience, shares the details of Tudor summer fun and feasting. Living at Old Hall, a 16th century home, Brigitte experiences the full Tudor experience. Brigitte shares the fun of a Tudor summer, which included gathering together to share a meal, eating outside, and discovering and enjoying the power of sugar.

The court performances of the early seventeenth century presented an image of perfect political harmony; but backstage the reality was very different.

This episode takes you on a stroll through the very heart of London from Parliament Square along Whitehall to Trafalgar Square.  We pause at the Cabinet War Rooms, the underground maze from which Churchill directed operations in World War 2, then make three further visits: to the Banqueting House, scene of the only beheading of an English king, the National Gallery and the Portrait Gallery.  https://www.iwm.org.uk/visits/churchill-war-rooms https://www.hrp.org.uk/banqueting-house https://www.nationalgallery.org.uk https://www.npg.org.uk https://www.visitlondon.com City Breaks: all the history and culture you'd research for yourself if you had the time! Check our website to find more episodes from our London series or to browse our back catalogue of other cities which are well worth visiting: https://www.citybreakspodcast.co.uk We love to receive your comments and suggestions!  You can e mail us at citybreaks@citybreakspodcast.co.uk And if you like what you hear, please do post comments or a review wherever you downloaded this episode.  It helps others to find us.  

Ben Jonson staged a masque at court called The Fortunate Isles which begins with a spirit descending onto the audience, featuring a floating island so elaborately constructed that England’s premiere architectural professional, Inigo Jones, who is the designer behind Whitehall Palace, Banqueting House, and Covent Garden square, was hired to construct an apparatus specifically for this performance. While records do not detail the construction of this magical floating island, we know from various accounts it was impressive in its scope and execution. So, What does this mean about William Shakespeare? We know from Shakespeare’s plays that the bard includes very similar items in his plays as well. From magical floating islands and gods riding on dolphins in plays like Twelfth Night to Shakespeare’s Cymbeline, where there is a stage direction that almost mirrors what we know happened in Jonson’s masque, when the text says “Jupiter descends in thunder and lightning, sitting upon an eagle” When these fantastic elements are used in the text, does that mean Shakespeare could have had an architectural designer build an elaborate floating island, or a descending eagle befitted with thunder and lighting inside The Globe theater?Traditional theater research into Elizabethan staging suggests that the set and scenery for this play would have been so sparse that the production relied on the strength of the dialogue to convey the elaborate and fantastic parts of the story, but if that is the case, why did Shakespeare map out Jupiter’s descent in the stage directions with such precision? Could Shakespeare have used elaborate props and circus-like movable scenery? Our guest, Dr. Michael Hirrel believes, the answer is yes.

What happened in this week in British History? 28th January 1547 - Henry VIII dies 29th January 1536 - Katherine of Aragon is buried at Peterborough Abbey - Anne Boleyn miscarries 30th January - 1649, Charles I is executed outside Banqueting House, Whitehall Palace - 1661, Oliver Cromwell is posthumously hung and beheaded - 1969, The Beatles Rooftop Concert You can also find me at: Facebook https://www.facebook.com/BritishHistorytours Instagram https://www.instagram.com/british_history_tours Online at britishhistorytours.com https://www.britishhistorytours.com Watch on YouTube: https://youtu.be/mWvgIcE4brY Suggested Further Reading and Watching Katherine of Aragon is Buried at Peterborough Six Wives: The Queens of Henry VIII by David Starkey Anne Boleyn's Miscarriage The Anne Boleyn Files and Tudor Society Youtube channel: Video January 29 - Queen Anne Boleyn miscarries - https://youtu.be/Lv50KI7VEFY Charles I Execution: https://www.hrp.org.uk/banqueting-house/history-and-stories/the-execution-of-charles-i/ Whitehall, The street that shaped a nation by Colin Brown published by Pocket Books https://www.pepysdiary.com/ Oliver Cromwell's Body is beheaded https://www.amusingplanet.com/2018/08/posthumous-execution.html Whitehall, The street that shaped a nation by Colin Brown published by Pocket Books https://www.pepysdiary.com/ The Beatles Concert Watch the Beatles Rooftop Video on YouTube - https://www.youtube.com/watch?v=NCtzkaL2t_Y https://www.onthisday.com/ --- Send in a voice message: https://anchor.fm/british-history/message

On the 30th January 1649 King Charles I of England, Scotland and Ireland was executed outside the Banqueting House in ...

For many of the performances we know Shakespeare performed at Whitehall Palace, including staging “Twelfth Night” in 1602, he would have performed at Banqueting House. Unfortunately, the original Banqueting House burned down after Shakespeare died, and while rebuilt in 1622 by the famous Inigo Jones for James I , the structure there today is not the original site where Shakespeare’s company would have performed. Nevertheless, the name Banqueting House reminds us that for Queen Elizabeth the banquet was a large affair, full of all the pomp and circumstance you might expect from the Queen of England. After all, these state occasions were often used to welcome and entertain visiting dignitaries as well as to mark special occasions, such as royal birthdays or the Christmas season. But what was Shakespeare’s role at these banquets? We know he was there, but was he just a performer, there to put on a play, or was he allowed to be a guest at the lavish dinners as well? And what were the standard aspects of a royal banquet in the 16th century that would have been seen and heard in the Palace of  Whitehall or Hampton Court Palace those years that Shakespeare was performing there? Here to take us back to Shakespeare’s lifetime and help us experience the formal banquet through the eyes of Shakespeare is our guest, Julia Lupton.

Baroque! From St Peter's to St Paul's is a three-part BBC Four documentary series on the painting, sculpture and architecture of the Baroque period. It was written and presented by Waldemar Januszczak and first broadcast in March 2009. ... won a Royal Television Society Award for best arts programme. England – The Royal Naval Hospital and Queen's House at Greenwich; Rubens, Van Dyck and Charles I's art patronage (including Banqueting House and its ceiling paintings); William Dobson's work during the English Civil War; the London churches of Christopher Wren and Nicholas Hawksmoor; Blenheim Palace, the English Baroque invention of the country house within a landscaped garden and the career of John Vanbrugh; St Paul's. --- Support this podcast: https://anchor.fm/thehistoryexpress/support

This week, we're interviewing Rose Julian and Jessica Davies (most perfect podcast voice ever) from Historic Royal Palaces, Banqueting House. That's an actual palace that's owned by the Queen guys. Serious wedding venue goals. Listen to hear more on what to expect from getting married in a palace, and just dream with us for a second about what it would be like to be a Prince or Princess for the day. Find out more about Banqueting House: https://www.hrp.org.uk/banqueting-house/hire-a-venue/weddings/As always, you can get in touch with us via email: theweddingpeoplepodcast@gmail.comOr follow us on Instagram: @theweddingpeoplepodcast

Flemish artist Sir Peter Paul Rubens wasn’t joking when he wrote in 1621, ‘I confess that I am better fitted to execute very large works than small curiosities.’  There is ... Read More The post A pain in the neck appeared first on Turn the Page.

Visiting London can be overwhelming, with the list of must-see locations stretching as high as Big Ben. But my guest today, author Leanda de Lisle, takes us deep into a lesser-known but historically vital London locale: Banqueting House. We talked about how Banqueting House fits into the rich history of London, its famous architect Inigo Jones, and the gorgeous painting by Flemish artist Peter Paul Rubens. And because Leanda is the author of the fantastic book, The White King: Charles I, Traitor, Murderer, Martyr, you know we had to talk about Banqueting House's as an infamous historical site: the execution of Charles I. The origin story of Banqueting House Banqueting House in London is right in among many of the famous London landmarks but is easy to overlook. As Leanda told me, it was built by James I, father of Charles I, in 1619 because he needed a place to host and entertain ambassadors and foreign dignitaries. Charles I was only 19 years old at the time, but only a few years away from becoming king himself. Inigo Jones designed it in the Italian Palladian style, the first of its kind in England, with a striking appearance to greet visitors to England. The building was built of yellowish stone, through it was refaced in the 19th century with the gray stone visitors see today. The Real Royalty of London The construction of such an incredible building came at a fairly turbulent time for the Stuarts and Charles in particular. His mother had died in 1619, the same year Banqueting House was built, and not long after his brother had passed away. His sister had gone abroad to be married, so Charles was left alone in England. And there's an odd dynamic with Charles's father, James, having an intimate relationship with the Duke of Buckingham that was likely homosexual, and the duke trying to get in the good graces of Charles, the heir to the throne. Buckingham actually took on a mentor role for Charles, helping him as he transitioned to adulthood. And that friendship would become massively important when James died, and Charles took the throne. And given what was happening in England at the time, Charles would need to lean on that relationship heavily. The trial of Charles I When Charles ascended to the throne, the Thirty Years War was already raging in Europe. As Leanda says in this episode, the war was really a fight between Catholicism and Protestantism, and the Protestants felt they were losing. Charles had some “quite conservative” ideas about how to reform the Church of England, with an emphasis on ritual. That, along with a testy relationship with his Parliament, set up the climate in which the country and its leaders were divided in their support of Charles, setting up a Civil War. Charles was eventually put on trial for treason—which was ironic at the time because technically treason could only be committed against the king—and as we know, found guilty and sentenced to death. Leanda sets the tragic scene for listeners; from Charles's final meeting with his children to the walk to the scaffolding outside Banqueting House. It's a dramatic story, and one you'll want to hear from the woman who literally wrote the book about it. Banqueting House: The setting for the high drama of Charles's reign Leanda is full of colorful stories about Charles I and the Stuart monarchy, and the dramatic end of Charles's life. I asked her why she set out to write a book about Charles I, and you can hear her light up as she discusses the fascinating characters of the time. We talked about Charles's wife, Henrietta Maria, the Duke of Buckingham and someone she refers to as “the frenemy from Hell.” (You'll have to listen to find out who that is.) The backdrop to all of this, of course, is Banqueting Hall, an underrated tourist destination, but a spot of high drama in English history, which is, of course, saying something. Outline of This Episode [2:32] Introduction to Banqueting House [6:36] The home life of the Stuarts [6:51] The eight churches of Moldavia [10:17] How Charles I came to be executed [17:17] What happened to Whitehall [20:15] How Leanda set out to write the book [22:32] A bit about Henrietta Maria [28:33] What surprised Leanda in her research Resources & People Mentioned Banqueting House The White King The Sisters Who Would Be Queen Inigo Jones Peter Paul Rubens Henrietta Maria More about London: Westminster Abbey, the Tower of London   Connect With Stephanie stephanie@historyfangirl.com https://historyfangirl.com Support Stephanie on Patreon   More at https://historyfangirl.com/banqueting-house-place-kill-king/   

INFO COMMENTS Women of Grace 3-5-2016 "...Where is My quest room in which I may eat... with My disciples?" Mark 14:14 Here we begin our study of "The Banqueting House Part " The Bridegroom has much to say to His own which cannot be said at the beginning. He must first say, "follow Me" and must draw us away from other interests before He can tell us of a path that is expedient for us which will lead to a fuller knowledge of Himself. Listen now as Minister Gordon teach on "The Banqueting House" Part 1.

Women of Grace 3-12-2016 Continuing part 2 of "The Banqueting House". II Peter 1:3-4 Gold many times has been said to represent the divine life and glory of the Lord Jesus, while silver represents redemption. How can the redeemed men and women become partakers of the divine nature? Listen to Minister Gordon as she teaches the great truths of Yahweh's word and His desire for the redeemed.

Women of Grace 3-19-2016 "Behold, I stand at the door and knock; if anyone hears and listens to and heeds My voice and opens the door, I will come in to him and will eat with him, and [will eat] with Him." Revelation 3:20 The King is knocking, will you open onto Him? Listen now to Part 3 of "The Banqueting House". We must learn to hear His voice.

In 1635, King Charles I asked his friend, Peter Paul Rubens to adorn the Banqueting House at Whitehall Palace with a vast mural cycle glorifying the Stuart dynasty.The lecture will discuss the importance and impact of Rubens on English culture and society.The transcript and downloadable versions of the lecture are available from the Gresham College website: http://www.gresham.ac.uk/lectures-and-events/rubens-and-london Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 1,900 lectures free to access or download from the website.Website: http://www.gresham.ac.ukTwitter: http://twitter.com/GreshamCollegeFacebook: https://www.facebook.com/greshamcollegeInstagram: http://www.instagram.com/greshamcollege

This quick nine-stop walk gives you a whirlwind tour as well as a practical orientation to London in about an hour. The walk begins on Westminster Bridge and ends at Trafalgar Square, with stops along the way at the Statue of Boadicea, Parliament Square, Whitehall, Cenotaph, #10 Downing Street and the Ministry of Defense, Banqueting House, and Horse Guards. Don't forget to download the PDF companion map at https://www.ricksteves.com/audiotours.

This quick nine-stop walk gives you a whirlwind tour as well as a practical orientation to London in about an hour. The walk begins on Westminster Bridge and ends at Trafalgar Square, with stops along the way at the Statue of Boadicea, Parliament Square, Whitehall, Cenotaph, #10 Downing Street and the Ministry of Defense, Banqueting House, and Horse Guards. Don't forget to download the PDF companion map at http://www.ricksteves.com/audiotours.

As we approach the 25th anniversary of the fall of the Berlin Wall, historian Hester Vaizey reveals the impact this momentous event had on the lives of ordinary East Germans. Meanwhile, freelance journalist Dan Cossins visits the Banqueting House in London in the company of Professor Ronald Hutton, to discuss the Restoration See acast.com/privacy for privacy and opt-out information.

What distinguishes leadership of cultural and heritage institutions from for-profit and even other types of non-profit organizations? How does a cultural institution earn all of its income without losing its mission? How has the interpretation of historic sites kept up with the times? Michael Day, Chief Executive of Historic Royal Palaces in the United Kingdom will discuss these and other issues related to cultural leadership, governance and historic site management. Historic Royal Palaces welcomes more than 4 million visitors each year to its sites that include the Tower of London, Hampton Court Palace, Kensington Palace, Kew Palace, and the Banqueting House in Whitehall. Hillsborough Castle, the Queen's official residence in Northern Ireland, has recently been added to this list.

  this time new episode by feb26th         A STORY OF THREE ROYAL BEHEADINGShttp: Charles I (19 November 1600 – 30 January 1649[a]) was monarch of the three kingdoms of England, Scotland, and Ireland from 27 March 1625 until his execution in 1649. Charles was the second son of King James VI of Scotland, but after his father inherited the English throne in 1603, he moved to England, where he spent much of the rest of his life. He became heir apparent to the English, Irish and Scottish thrones on the death of his elder brother in 1612. An unsuccessful and unpopular attempt to marry him to a Spanish Habsburg princess culminated in an eight-month visit to Spain in 1623 that demonstrated the futility of the marriage negotiations. Two years later he married the Bourbon princess Henrietta Maria of France instead.           Charles was reserved (he had a residual stammer), self-righteous and had a high concept of royal authority, believing in the divine right of kings. He was a good linguist and a sensitive man of refined tastes. He spent a lot on the arts, inviting the artists Van Dyck and Rubens to work in England, and buying agreat collection of paintings by Raphael and Titian (this collection was later dispersed under Cromwell)   .This picture was commisioned by Charles   Finally, on 22 August 1642 at Nottingham, Charles raised the Royal Standard calling for loyal subjects to support him (Oxford was to be the King's capital during the war). The Civil War, what Sir William Waller (a Parliamentary general and moderate) called 'this war without an enemy', had begun. The Battle of Edgehill in October 1642 showed that early on the fighting was even. Broadly speaking, Charles retained the north, west and south-west of the country, and Parliament had London, East Anglia and the south-east, although there were pockets of resistance everywhere, ranging from solitary garrisons to whole cities.     On 20 January, Charles was charged with high treason 'against the realm of England'. Charles refused to plead, saying that he did not recognise the legality of the High Court (it had been established by a Commons purged of dissent, and without the House of Lords - nor had the Commons ever acted as a judicature). The King was sentenced to death on 27 January. Three days later, Charles was beheaded on a scaffold outside the Banqueting House in Whitehall, London. The King asked for warm clothing before his execution: 'the season is so sharp as probably may make me shake, which some observers may imagine proceeds from fear   Horrible Histories: Slimy Stuarts: HHTV News: King Charles I's Execution www.youtube.com/watch?v Horrible Histories: English Civil War with Bob Hale =ZnbZE52wCRY http://www.youtube.com/watch?v=ZnbZE52wCRY http://www.youtube.com/watch?v=3FyQnEDt7eA       Anne Boleyn From Wikipedia, the free encyclopedia Jump to: navigation, search For other people named Anne Boleyn, see Anne Boleyn (disambiguation). Anne Boleyn Later copy of an original portrait, which was painted c.1534. Queen consort of England Reign 28 May 1533 – 17 May 1536 Coronation 1 June 1533   Spouse Henry VIII of England among others... Issue Elizabeth I of England House House of Tudor (by marriage) Father Thomas Boleyn, 1st Earl of Wiltshire Mother Lady Elizabeth Howard Born c. 1501/07[1] Blickling Hall, Norfolk or Hever Castle, Kent Died 19 May 1536 (aged 28–35) Tower of London, London Signature Religion Anglican, formerly Roman Catholic[2] Anne Boleyn (/ˈbʊlɪn/, /bəˈlɪn/ or /bʊˈlɪn/)[3][4] (c. 1501[1] – 19 May 1536) was Queen of England from 1533 to 1536 as the second wife of King Henry VIII and Marquess of Pembroke in her own right   On her return to England in 1522, Anne was appointed as lady-in-waiting to Henry VIII's wife Catherine of Aragon. Anne's striking looks and sophisticated manners earned her many admirers at court Before pursuing Anne, Henry VIII had already had an affair with her sister, Mary. Henry showered Anne and her family with titles and gifts. Anne's ambitious father was created Earl of Wiltshire and her brother, Lord George Rochford Tragedy of Anne Boleyn http://www.youtube.com/watch?v=HqNTi_HNwnE Horrible Histories - it's your reign with Henry VIII HORRIBLE HISTORIES - The Wives of Henry VIII (Terrible Tudors) Horrible Histories - the execution of Anne Boleyn       Marie Antoinette Maria Antonia of Austria was born on November 2, 1755 at the Hofburg Palace in Vienna, Austria; on the next day, she was baptised Maria Antonia Josepha Johanna          A child of only 14 years, delicately beautiful with gray-blue eyes and ash-blonde hair, in May 1770, Marie Antoinette set out for France to be married, escorted by 57 carriages, 117 footmen and 376 horses.   On July 14, 1789, 900 French workers and peasants stormed the Bastille Prison to take arms and ammunition, marking the beginning of the French Revolution. On October 6 of that year, a crowd of 10,000 gathered outside the Palace at Versailles and demanded that the king and queen be brought to Paris. At the Tuileries Palace in Paris, the always indecisive Louis XVI acted almost paralyzed, and Marie Antoinette immediately stepped into his place, meeting with advisors and ambassadors and dispatching urgent letters to other European rulers, begging them to help save France's monarchy. In January 1793, the radical new republic placed King Louis XVI on trial, convicted him of treason and condemned him to death. On January 21, 1793, he was dragged to the guillotine and executed. In October of that year, a month into the infamous and bloody Reign of Terror that claimed tens of thousands of French lives, Marie Antoinette was put on trial for treason and theft, Contents Synopsis Early Life Marriage to Louis Auguste Queen of France Death and Legacy as well as a false and disturbing charge of sexual abuse against her own son. After the two-day trial, an all-male jury found Marie Antoinette guilty on all charges. Thusly, like her husband had been several months before, Marie Antoinette was sent to the guillotine on October 16, 1793. On the night before her execution, she had written her last letter to her sister-in-law, Elisabeth. "I am calm," the queen wrote, "as people are whose conscience is clear french revolution video Horrible Histories     Lady Jane Grey   Lady Jane Grey (1536/1537 – 12 February 1554), also known as Lady Jane Dudley[3] or The Nine Days' Queen,[4] was an English noblewoman and de facto monarch of England from 10 July until 19 July 1553. The great-granddaughter of Henry VII through his younger daughter Mary, Jane was a first cousin once removed of Edward VI. In May 1553, she was married to Lord Guildford Dudley, a younger son of Edward's chief minister, John Dudley, Duke of Northumberland. When the 15-year-old King lay dying in June 1553, he nominated Jane as successor to the Crown in his will, thus subverting the claims of his half-sisters Mary and Elizabeth         short 2 min video horrible histories Horrible Histories Horrible Histories:Lady Jane Grey is queen for nine days. The invention of the English mile

Philip Roth was honoured as the winner of The Man Booker International Prize 2011 at an awards dinner held at Banqueting House, Whitehall on Tuesday 28 June. Roth was unable to attend and the prize was accepted on his behalf by author and academic Hermione Lee