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Figure 6. The interface in the multi-window state. [left top] text fragment; [left bottom] See Figure 5. [middle] manuscript fragment, Lucretius, De rerum natura, in Latin, copied by Girolamo di Matteo de Tauris for Sixtus IV [top right] see Figure 4; [bottom right] see Figure 5.

Figure 6 The interface in the multi-window state. [left top] text fragment; [left bottom] See Figure 5. [middle] manuscript fragment, Lucretius, De rerum natura, in Latin, copied by Girolamo di Matteo de Tauris for Sixtus IV [top right] see Figure 4; [bottom right] see Figure 5.

Related Figures (20)

Figure 1. Figures i in Heemskerck's drawings. [far left] A procession moving towards the entrance to the Papal palace, passing the Old St. Peter's; [left] A woman with a child; [right] A rider of status with a servant; [far left] A worker with a basket. Fragments of drawings by Marten van Heemskerck, about 1535. Berlin, Kupferstichkabinett. experienced (or possible) in these places.
Figure 1. Figures i in Heemskerck's drawings. [far left] A procession moving towards the entrance to the Papal palace, passing the Old St. Peter's; [left] A woman with a child; [right] A rider of status with a servant; [far left] A worker with a basket. Fragments of drawings by Marten van Heemskerck, about 1535. Berlin, Kupferstichkabinett. experienced (or possible) in these places.
Figure 3. Armenian character puppet, photographed against the blue background for further extraction and integration with other content. The Armenian cone-shaped monk’s headdress, "veghar", is typical. The cross on the headdress is worn only by the Catholicos (head of church), not bishops like Martiros.
Figure 3. Armenian character puppet, photographed against the blue background for further extraction and integration with other content. The Armenian cone-shaped monk’s headdress, "veghar", is typical. The cross on the headdress is worn only by the Catholicos (head of church), not bishops like Martiros.
Figure 4. The interface in its continuous-narrative, single-window state. The image is a rough montage combining fragments of retouched contemporary photographs, a photograph of a puppet, and a mirrored perspective of the medieval Rome by van Heemskerck for the background. The background drawing is by Anonymous (16th c.), Hermann Egger, Roemische Veduten, Handzeichnungen aus dem XV. bis XVIII. Jahrhundert zur Topographie der Stadt Rom (Wien: Verlag Schroll&Co. 1932), fig. 20
Figure 4. The interface in its continuous-narrative, single-window state. The image is a rough montage combining fragments of retouched contemporary photographs, a photograph of a puppet, and a mirrored perspective of the medieval Rome by van Heemskerck for the background. The background drawing is by Anonymous (16th c.), Hermann Egger, Roemische Veduten, Handzeichnungen aus dem XV. bis XVIII. Jahrhundert zur Topographie der Stadt Rom (Wien: Verlag Schroll&Co. 1932), fig. 20
Figure 5. The interface in its three-windows state. [top] See Figure 4. [bottom left] van Heemskerck, Chatsworth, about 1535, Coll. Duke of Devonshire [bottom right] Raphael’s workshop, Donation of Constantine, 1523-24. Fresco, north wall. Sala di Costantino, Vatican.
Figure 5. The interface in its three-windows state. [top] See Figure 4. [bottom left] van Heemskerck, Chatsworth, about 1535, Coll. Duke of Devonshire [bottom right] Raphael’s workshop, Donation of Constantine, 1523-24. Fresco, north wall. Sala di Costantino, Vatican.
Figure 7. Departure from Armenia sequence. [top left] Aghtamar Island, lake Van, and the church of Holy Cross (Surp Hac), a collage of photographic and painted elements; [top right] as top right, a contemporary photograph; [bottom] views of the citadel of Van (on the mainland and in sight of the island), from the lake and from inland. landscapes, art and architecture that surrounded him at home.
Figure 7. Departure from Armenia sequence. [top left] Aghtamar Island, lake Van, and the church of Holy Cross (Surp Hac), a collage of photographic and painted elements; [top right] as top right, a contemporary photograph; [bottom] views of the citadel of Van (on the mainland and in sight of the island), from the lake and from inland. landscapes, art and architecture that surrounded him at home.
Figure 8. Departure from Armenia sequence. A storyboard image produced to consider an interactive sequence uniting several elements. The background is derived from a historical drawing showing the city of Van c. 1600 (from a drawing E.9487 in the Topkapi Museum, Istanbul), hand-painted. The transparent overlay on the top right is the outline of the citadel derived from the photograph in Figure 7. The foreground column is a contemporary photograph of a surviving architectural element in the old town of Van (see Figure 9). situate Martiros's personality within concrete and suggestive environments.
Figure 8. Departure from Armenia sequence. A storyboard image produced to consider an interactive sequence uniting several elements. The background is derived from a historical drawing showing the city of Van c. 1600 (from a drawing E.9487 in the Topkapi Museum, Istanbul), hand-painted. The transparent overlay on the top right is the outline of the citadel derived from the photograph in Figure 7. The foreground column is a contemporary photograph of a surviving architectural element in the old town of Van (see Figure 9). situate Martiros's personality within concrete and suggestive environments.
Figure 9. Departure from Armenia sequence. [top right] Vaults in Van, a contemporary photograph; [top middle] low-relief sculptures on the walls of the church of Holy Cross on Aghtamar Island; [top right] a surviving tower in the old city of Van; [bottom left and middle] views of the citadel, contemporary photographs; [bottom right] a surviving fresco in the church.
Figure 9. Departure from Armenia sequence. [top right] Vaults in Van, a contemporary photograph; [top middle] low-relief sculptures on the walls of the church of Holy Cross on Aghtamar Island; [top right] a surviving tower in the old city of Van; [bottom left and middle] views of the citadel, contemporary photographs; [bottom right] a surviving fresco in the church.
Figure 10. Departure from Armenia sequence. The bell tower of Aghtamar at sunset, a contemporary photograph extended with painted elements.
Figure 10. Departure from Armenia sequence. The bell tower of Aghtamar at sunset, a contemporary photograph extended with painted elements.
Figure 12. Departure from Armenia sequence. Contemporary photographs showing scenes of neglect and destruction of traditional Armenian architecture.
Figure 12. Departure from Armenia sequence. Contemporary photographs showing scenes of neglect and destruction of traditional Armenian architecture.
Figure 13. Rome prelude sequence. Early morning before sunrise. This frame is based on a fragment of the drawing shown in Figure 20. would be necessary when attending morning services in the basilica.
Figure 13. Rome prelude sequence. Early morning before sunrise. This frame is based on a fragment of the drawing shown in Figure 20. would be necessary when attending morning services in the basilica.
Figure 14. Rome prelude sequence. The virtual camera tracks up towards the St. Peter's tower. This frame is based on a fragment of the drawing shown in Figure 20.
Figure 14. Rome prelude sequence. The virtual camera tracks up towards the St. Peter's tower. This frame is based on a fragment of the drawing shown in Figure 20.
Figure 15. Rome prelude sequence. The tower is revealed. This frame is based on a fragment of the drawing shown in Figure 20.
Figure 15. Rome prelude sequence. The tower is revealed. This frame is based on a fragment of the drawing shown in Figure 20.
-igure 16. Rome prelude sequence. The sun hits the bell tower. This frame is based on a fragment of the Jrawing shown in Figure 21. and the sequence imperceptibly shifts to another source drawing (Figure 21).
-igure 16. Rome prelude sequence. The sun hits the bell tower. This frame is based on a fragment of the Jrawing shown in Figure 21. and the sequence imperceptibly shifts to another source drawing (Figure 21).
Figure 17. Rome prelude sequence. The basilica is revealed. This frame is based on a fragment of the drawing shown in Figure 21.
Figure 17. Rome prelude sequence. The basilica is revealed. This frame is based on a fragment of the drawing shown in Figure 21.
Figure 18. Rome prelude sequence. The square in front of the Basilica is revealed. This frame is based on a fragment of the drawing shown in Figure 21
Figure 18. Rome prelude sequence. The square in front of the Basilica is revealed. This frame is based on a fragment of the drawing shown in Figure 21
Figure 19. Rome prelude sequence. The camera approaches the entrance to the Basilica is revealed. This frame is based on a fragment of the drawing shown in Figure 21 apparent in a unified aesthetic experience.
Figure 19. Rome prelude sequence. The camera approaches the entrance to the Basilica is revealed. This frame is based on a fragment of the drawing shown in Figure 21 apparent in a unified aesthetic experience.
Figure 20. View from the end of the Borgo Nuovo to St Peter’s, showing the entrances to the Basilica and the papal palace. The original drawing by Anonymous (16th c.), after Marten van Heemskerck person framing his encounters with places, architecture and art.
Figure 20. View from the end of the Borgo Nuovo to St Peter’s, showing the entrances to the Basilica and the papal palace. The original drawing by Anonymous (16th c.), after Marten van Heemskerck person framing his encounters with places, architecture and art.
Figure 21. View towards The Basilica of Old St. Peter's. The original drawing by Marten van Heemskerck, about 1535. Berlin, Kupferstichkabinett
Figure 21. View towards The Basilica of Old St. Peter's. The original drawing by Marten van Heemskerck, about 1535. Berlin, Kupferstichkabinett
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