Gazing into Imaginary Spaces: Digital Modeling and the Representation of Reality

John N. Wall
Links
Virtual Paul's Cross website
About the author(s)

John Wall is a Professor of English at North Carolina State University. His fields of inquiry in research and scholarship include early modern English literature, religion and literature, and the digital humanities. He is the Principal Investigator of the Virtual Paul’s Cross Project. His work has been published in the John Donne Journal, Anglican and Episcopal History, the Journal of Digital Humanities, and Digital Studies/Le Champ Numérique, among others, as well as in numerous volumes.

Figure 1. Paul’s Churchyard, the Cross Yard, looking west. From the visual model, constructed by Joshua Stephens, rendered by Jordan Gray. Banner design by David Hill.
Figure 2. Paul’s Churchyard, looking east, from the west. From the visual model, constructed by Joshua Stephens, rendered by Jordan Gray.
Figure 3. Wenceslaus Hollar, drawing of St. Paul’s Cathedral, north side (1650?). Image courtesy Sotheby’s, London.
Figure 4. Wenceslaus Hollar, engraving, St. Paul’s Cathedral, north side. From William Dugdale, History of St Paul’s Cathedral (1658). Image courtesy the Wenceslaus Hollar Digital Collection, University of Toronto.
Figure 5. John Gipkin, painting of Paul’s Cross (1616). Image courtesy of the Bridgeman Art Library, New York, and the Society of Antiquaries, London.
Figure 6. Drawing, London, intersection of Paternoster Row and Old Change (1585). British Museum BM Crace 1880-11-13-3516. Image courtesy British Museum.
Figure 7. Paul’s Churchyard, looking north, from the Sermon House. From the visual model, constructed by Joshua Stephens, rendered by Jordan Gray.
Figure 8. Paul’s Churchyard, looking east, from the west. From the visual model, constructed by Joshua Stephens.
Figure 9. Paul’s Churchyard, looking east. From by Joshua Stephens, rendered by Jordan Gray.
Figure 10. Wireframe image of the acoustic model of Paul’s Churchyard, the Cross Yard, based on the visual model constructed by Joshua Stephens.
Figures 11a–11c. John Gipkin, painting of Paul’s Cross (1616). Details showing birds (a), horse (b), and dog (c). Image courtesy of the Bridgeman Art Library, New York, and the Society of Antiquaries, London.
Figures 11a–11c. John Gipkin, painting of Paul’s Cross (1616). Details showing birds (a), horse (b), and dog (c). Image courtesy of the Bridgeman Art Library, New York, and the Society of Antiquaries, London.
Figures 11a–11c. John Gipkin, painting of Paul’s Cross (1616). Details showing birds (a), horse (b), and dog (c). Image courtesy of the Bridgeman Art Library, New York, and the Society of Antiquaries, London.
Figure 12. John Gipkin, painting of Paul’s Cross (1616). Detail. Images courtesy of the Bridgeman Art Library, New York, and the Society of Antiquaries, London.
Figure 13. John Donne, Sermon for Gunpowder Day, November 5, 1622, Page One. From MS Royal. 17.B. XX. Image courtesy the British Library.
Figure 14. John Donne, Sermon for Gunpowder Day, November 5, 1622, Page One. From Fifty Sermons (London, 1649).
Chapter number
11