Spotlight on… The Fitzwilliam Museum in Cambridge. Breaking away from the London-centric focus of this blog, largely due to my inability not to write about digitally reworked paintings depicting their sitters with now ubiquitous Covid-19 face masks, but more on that later! It houses an encyclopaedic collection of over half a million objects spanning the ancient world, paintings, drawings and prints, applied arts, coins, medals, manuscripts and books. Typically offering free entry to the public, but temporarily closed due to the pandemic, the museum has made an original and cogent contribution to digital museum offerings. In April they launched their Look, Think, Do virtual family activities, utilising objects from their collection including a coffin lid of Ramases III from 12th century BC Egypt, a Mosque Lamp from Damascus circa 1355 and an engraved printed plate titled ‘American Flamingo’ produced between 1827-30. May saw them announce The Fitz Stitch seeking 45 craft volunteers to contribute squares to a quilt which will be hung in the Courtyard Entrance by the end of September 2020, all pieces will be linked to the collection but in as abstract or literal a representation as participants would like. Building on their already successful Dancing in Museums initiative working with older people in isolation, they have addressed wellbeing and released seven films which all begin with a guided relaxation followed by an exploration of a painting by Monet, Sisley, Alma-Tadema or Renoir amongst others. Last week they also announced ‘Masterpieces 2020’ where renowned paintings have been digitally altered and released as greetings cards reflecting the current circumstances; Belgian artist Alfred Stevens ‘La Liseuse’ shows his subject wearing a delicate lace face mask whilst reading her book, pre-Raphaelite artist John Everett Millais’ ‘The Bridesmaid’ features an added yellow silk face mask matching her dress, Renaissance master Titian’s ‘Venus and Cupid with a lute-player’ shows all three figures wearing face masks not just the reclining nude, and Dutch artist Jan van Meyer’s ‘The Daughters’ depicts the four girls each with a unique face mask matching their dresses. Though the grand neo-classical building and collection may have a traditional reputation, these virtual offerings highlight their progressive and dynamic capacity.