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She links the collecting craze during the romantic era with the subsequent fetishization of romantic poets and their possessions, revealing the extent to which an ongoing fascination with material objects - with Keats's hair and Shelley's guitar, for example - helped to produce an enduring image of these poets as spiritual emissaries of a less materialistic age. In language both witty and idiosyncratic, Pascoe makes the case that the romantic period stands out as a distinct moment in collecting history, a transition between the flourishing of the Renaissance wonder cabinet and the rise of the Victorian museum.
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