In processing the multiple photographs of the Mary May tomb, several RTIs were recorded in order to collect multiple viewpoints onto the effigy. The recording methodology was not intended as a comprehensive survey of the artefact. Instead, a decision-making pipeline that enabled iterative building of the narrative of the tomb was utilised. For instance, particular attention was paid to recording the visage of the effigy from a low-down standpoint (see Figure 9) to replicate early experiences of the tomb.
Cameras were mounted on the floor, facing upwards towards the effigy in an attempt to re-create the viewpoint of an audience in front of the tomb before it had been removed from its plinth. This placing of cameras did not attempt to re-establish the context of the tomb within its phenomenological setting, but instead was intended as an entry point into the consideration of the treatment of the tomb post-mortem. This was an attempt to ascertain whether changes to the sculpture had been conducted when the tomb was already 'in-place' within the chapel.
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