In the Tate Reading Rooms, the archivist gave a brief description of each of the documents that he laid out. The summaries that he gave were fascinating, but the document that I interested me the most was James Boswell’s sketchbook drawings. The materiality of the document reminded me of a thin piece of paper with a distinct archaic smell. In fact, the paper was so thin that you can see through the paper and see what the next art sketch on the next page looks like. The document was a sketchpad that was hand drawn. The document is depicting the British army during the Great War and how they treated their soldiers. It was supposed to depict how poorly the British army was treated by their war leaders/generals. The different comparisons that are made in the sketches include religion, the superiority complex of the war generals, power, etc. and at one point one of the sketch drawings depicted a bull (resembling the British) shoving a cross down a person’s throat. The symbolism in this artwork is very surprising and powerful because of the forced conversion that it seemed to resemble. After realizing it was James Boswell and how he was a left-leaning party member, it was interesting to see the symbolism that he displayed in his drawings. It took me several tries to understand who the Bulls were and why they were so prominent in his drawings. On top of that, I was confused initially because I knew that Boswell was British but I did not initially understand why he drew the British in a negative fashion. Performing research on the individual and listening to the archivists explain the documents made it much clearer to me. This document was important in the Bloomsbury studies because James Boswell was one of the founders of the Artists International Association which Vanessa Woolf and Duncan Grant were a part of.  This radical artestry reminded me of quote from Mrs. Dalloway, "Beauty was not everything. Beauty had this penalty - it came too readily, came too completely. It stilled life - froze it. One forgot the little agitations; the flush, the pallor, some queer distortion, some light or shadow; (this was how she had always felt) and so plunged beneath the surface. Everything was blurred, merged in the great abstract beauty which rode above one, streamed through one, and so left one - a violet, something indefinite, something that might have been beauty or ugliness. Who knew? It swam like a water-lily on the surface with a part submerged." This quote highlights the radical nature of art in Woolf's perspective, which involves not only capturing the beauty of life, but also acknowledging the complexities and imperfections of human experience. Rather than seeking to create perfect or idealized representations of the world, Woolf suggests that art should strive to capture the "little agitations" and "queer distortions" that make life so rich and unpredictable. This archival visit was my favorite out of all the archives because I connected with this sketchbook and how radical it was for its time.