 thinker, Christina. The creation of visual representation of lost buildings and interiors from detailed research has long offered people the opportunity to engage more easily with complex and sometimes highly technical information than is possible to do through texts alone. But conventional artistic methods such as sketching create only two dimensional images and allow ample room for that convenient fudging of details fel ydych chi'n rôl yn cerddol o'r cwrdd. Mae'r rôl ffemiliaid yw y boedd yn ddweud o'r ddwaith yn y cynnig yn y ddweud o'r rôl. Rydych chi'n rôl yn ddweud 3D ffysicol yn ddwyllgor ac yn gyfodd i gael, ac yn ddweud o'r ddweud o'r ddweud o'r ddwyll o'r ddwyllos, ac yn ddweud o'r ddwyll. Y ddwyllwch ddwyll wedi eu gweithwyr 3D yn ddwyllwch yn ddwyllio'r cymhiliadol newyddau newyddau, a roedd unigwyrdau cyfnod o'r gweithio, wedi'i ffawr ymgyrch ar y ffrif, wedi'i ffawr o'r tyllion o'r gweithio'r cyfwyr arno, ac mae'r cyfwyrdol o'r ffwrddol iawn o'r cyfwyrdol a'r cyfwyrdol iawn o'r cyfwyrdol iawn o'r cyfwyrdol iawn. Y moddlen digital wedi'u gwybod yn enwyr ar y dyfodol a'u ffordd yn gweithio'r cynhyrchu a'r ysgol yn gweithio i'r ffordd. It's possible to create in many ways a near-photo-realistic architectural model. Although character modelling and human animation is still harder to do really convincingly, as anyone who saw Rogue One and Peter Cushing will know. Modelling is a tool for testing hypotheses, however, and exploring the physical reality of spaces poses challenges as well as opportunities. The creation of immersive near-photo-real models allows users to enter an evocation of the past as never before, but that raises serious issues about transparency and authenticity. Through the outputs of a current research project in Pilgrimage, which we are undertaking funded by the Arts and Humanities Research Council, I want to explore briefly in this paper the issues and opportunities around dealing with uncertainty, the use of comparanda, conflicting evidence and the desire to create a satisfying environment without misleading the user. The huge appetite that has grown in recent years for immersive experience modelling, where users can choose to explore an environment and elect what paths they want to follow. So the project in which we've been engaged, Pilgrimage in England's cathedrals past and present, has explored the questions of the pilgrim experience in the medieval past and the current experience of visitors to cathedrals today. And as you can see here, we've worked with four partner cathedrals, Canterbury, Durham, Westminster, Roman Catholic Cathedral and York. But what I want to talk about today is the work that we've done with Canterbury on the recreation of the medieval pilgrim experience. So you might reasonably ask why model the Canterbury experience. Within this project, we've modelled four Beckett-related sites within Canterbury with which pilgrims would have interacted. That is, the site of the martyrdom itself, his original tomb, the main and glittering medieval shrine in the Trinity Chapel and the smaller but much more exclusive head shrine in the Corona Chapel. In doing so, we've drawn on extensive archival and archaeological data. Both some of which we've undertaken ourselves on the archival front, but much of which has been gathered over many years. The modelling, which I will show you shortly, has not only allowed us to test various hypotheses about Pilgrimage to Canterbury, but also to bust some myths. For example, there was no fixed route around the cathedral. We've proved through the use of archival research within the modelling that the experience within the medieval cathedral was that pilgrims would elect to go to whichever of the four sites they were able to access, either by virtue of the time of day, time of year, their social status or the need for which they were going. The popularity of the cult of Thomas Beckett has allowed us to explore through material evidence in a number of repositories and museums. A way of recreating as accurately as possible the physical experience of being a pilgrim in that space. What could you see? What could you hear? What could you touch at each of these four key sites? And how did their usage vary one from another? Canterbury was a monastic cathedral in the Middle Ages. So how did the monks manage the popularity of the cult alongside their daily routine? And how was the pilgrim experience managed? Or, as we've discovered actually, even stage managed? Canterbury is extraordinarily well documented in this regard. There is a shrine keeper's manual in a customary that survives from the 14th century. There are numerous miracle stories. There is, of course, the famous Canterbury tales of Chawser and the later tales of Bering. Pilgrimage and the idea of pilgrimage is still a big thing for Canterbury. People start on the Via Frantigina from there. Many people start on their journey to Santiago de Compostela. People end their pilgrimages there and for many it is still a site that is exactly that, the beginning or the end. So exploring within that, within the model, how the building that people experience today was shaped in terms of the East End, certainly entirely shaped by the cult of Thomas and his martyrdom, tells us a great deal not only about the building and how it can be managed today, but how people can experience more of that than in the Protestant somewhat stripped out cathedral. So the key sites that you can see here, the tomb is in number one, the crypt, which is at the top right, which is obviously below ground. The main shrine is in the Trinity Chapel, which is the area marked as number eight, and the little bit sticking out of the end, the little head shape bit, is the corona chapel where the head shrine was. And then number four is the site of the martyrdom, which now has a relatively modern artwork on it, but had an altar, which was where Beckett himself was celebrating mass when he was martyred. So what have we done? So this is a digital animation of the shrine of Thomas Canterbury, Thomas Beckett of Canterbury, within the area of the Trinity Chapel. So this is entirely a digital recreation. This is not a photograph with things dropped in. As you can see, the shrine itself in this animation has a number of different activities going on around it. So. There's a group down here who are just passing the time of day. There's another group over here having the miracle stories within the group areas. Explain to them. All of these activities are documented in the archival record. If you go to that site today, you will see the cosmarty pavement, you will see the pillars. What you won't see, because they disappeared at the Reformation, is the huge jewel shrine, the cover suspended, which had silver bells on it, which rang when the cover was raised or lowered. You won't see those metal grills, because again, they have disappeared. So the experience of the space today is very different. People follow the same route in the sense that they climb the same steps, they gradually move from west to east. But when they get to this space, what they see is an empty space with a candle in the middle of it. So by doing this, we are able to give people some sense of what they would have seen. But of course what we can't do is make the people who are looking at this into medieval pilgrims with a medieval mindset. People viewing this are 21st century people with their own ideas, their own preconceptions, their own prejudices, their own expectations. So whilst we can make this a very physically immersive experience, we could, if we wished, put this onto Oculus Rifts and have people looking around, although I'm not sure the cathedral would be terribly keen on that as an idea. But what we can't do is imbue people with that sense of being a person in the past. So modelling allows us to test these hypotheses and to take us so far, but it cannot take us truly back in time in that sense. A rather different experience both in the past and today is the site of the martyrdom. What's recreated here is the first mass on the Feast of St Thomas, which is the 29th of December. The first mass of the day would have taken place around 4am. What we know from the archival record is that a relatively small number of pilgrims each year were allowed to spend the night in the cathedral. The cathedral provided them with bread and ale. That's worry. It's not meant to be that dark. Oh, there we go. I'm on my back. The cathedral provided them with bread and ale and they were allowed to have a small fire in the cathedral, though we haven't actually managed to ascertain quite how they would do that, presumably some kind of brazier or something. And they would then attend this mass at the site of the martyrdom. So if you go to the Pentecost today, there is an altar on that spot and it has rather dramatic crossed swords over it. In the medieval period it had an altar with quite elaborate haggings and quite an elaborate rherodos, which showed Thomas as a saint and scenes also from the crucifixion. So a very different experience and realistically one that people cannot replicate today. There is no mechanism within Canterbury Cathedral for people to spend the night in the cathedral or to attend a mass at 4 o'clock in the morning. Certainly not on the 29th of December. So those, that presentation of an experience for quite a defined group of pilgrims, as far as we can tell, these were people who either had undertaken a particularly arduous journey or had made a vow to walk a certain distance, considerably long distance usually, and to attend on this particular day. So quite a select group of pilgrims. A different experience again is that of a documented visit by the Countess of Kent to the Corona Chapel, the place where the head shine was kept. So in the 13th century Beckett's head was physically separated from the rest of his body and enshrined, as was commonly the case, in a silver gilt shrine, heavily bejeweled. Access to this and to this space was highly privileged. It was not accessible to the general pilgrim and it's clear from the documentation around the shrine keeper's accounts that basically if you paid a lot of money you got to kiss the head shrine. So we represented the Countess of Kent here with her slightly fidgety ladies-in-waiting kneeling on the stone. You can see here that the head shrine was flanked by shrines of other saints containing multiple bones. But again, if you go into that space today that space is largely filled with the shrines or with the tombs rather of later archbishops. The final one, and this is one that's still in progress is the modelling around the tomb, the site of Beckett's original burial down in the crypt. So when his body was translated to the shrine upstairs the site of his original tomb and the original tomb casket we know remained as a site of veneration and appears from the records to have been the place where the longer term sick could go. People with, as one of my colleagues said some of the more disgusting diseases could go and pray there for healing and wait there and in some cases could spend considerable periods of time there. So a variety of ailments are represented. At the moment as I say this is in progress this is far too clean. There should be many more pangels and straw and flora and all sorts of things. But it's exploring what that meant in terms of the use of this space who would have accessed this space and testing out some of the ideas which previously the assumption was that all pilgrims went to the main shrine. And actually what we know now from the archival research in particular is that there are terrific peaks and troughs in that. So pilgrims, many pilgrims would go to the main shrine on particular feast days but the rest of the time judging by the income because obviously people paid their pilgrim pence or paid for candles the business if you like of pilgrimage was spread out across these various sites. Some pilgrims would go to more than one. Some pilgrims would come a considerable distance some would be very local. So by using this modelling as well as producing for the cathedral a visually engaging output that says oh you know here's some pilgrims at a shrine doing different things and enabling them to explain some of those to their many thousands of visitors. It's also allowed us to test ideas about that people have had about what it meant to be a pilgrim because the assumption was that it was the sort of Chaucer model that people came in a group, they went into the cathedral at the main shrine, they followed a route they bought their pilgrim badge and they left and what the modelling in particular has helped us to show is that that could not have been the case not simply that it might not have been that it could not have been because the various access routes to those spots within the cathedral at different times of the day with the monastic liturgy would be inaccessible that the monks managed the pilgrim experience that the east end of the cathedral was actually remodelled to heighten the pilgrim experience you physically got higher and higher and higher as you went up the cathedral and you glimpsed the shrine it was very theatrical the sight lines were very carefully managed and so when you actually arrived it was a real moment of revelation which would have had a very strong experience a very strong impact rather on people so that's what we've been doing with digital modelling as I say it's still something of a work in progress but we think it offers real opportunities for giving people a form of engagement and asking questions that are not possible in other routes thank you