Pompeii in the Sydenham Crystal Palace
Comparing Modern and Victorian Immersive Environments: Pompeii in the Sydenham Crystal Palace.
Shelley Hales and Nic Earle from the University of Bristol report on this JISC-funded project for snapshot #8. The project also has a blog, and can be visited in Second Life.
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At the university of Bristol we are currently running a project, ‘Resurrecting the Past: Virtual Antiquities in the Nineteenth Century’ the first phase of which was funded by JISC as part of their ‘Enriching Digital Resources’ theme, a strand of their ‘Digitisation’ programme. The team is Shelley Hales, a Senior Lecturer in the Department of Classics & Ancient History and Nic Earle, University E-learning Co-ordinator from the Education Support Unit. We have built a virtual 3D model in Second Life of the Pompeian Court from the 1854 Sydenham Crystal Palace. The Pompeian Court was a complete life-size model of an ancient house from Pompeii, housing a collection of copies of Roman paintings. Our Model is designed to bring together a digitised collection of the material contained in the Court alongside an archive of material pertaining to it, and we are designing interface techniques to enable researchers, community groups, school and undergraduate students to engage with and use the Model for their own needs.
We have chosen a virtual environment, and Second Life in particular, to rebuild the Sydenham Pompeian Court because it allows us both to recreate and to study a point of comparison with the social and reproductive techniques of the Crystal Palace. Just as the Crystal Palace was considered in 1854, Second Life is both a massive social experiment, bringing together diverse users, and a testing ground for new approaches to education, entertainment and enterprise. The Model takes advantage of the use of avatars both to populate the space and to allow users touring the Court to interact with us, other visitors and the objects on display. It also seems to us that the questions of authenticity and of the responsibility of reconstructors raised by virtual models echo questions faced by the creators of the Pompeian Court in the Crystal Palace. The project allows us to think about the links between content and the mode of its delivery.
Within the university we’ll be mainly using the Model in a third year Classics module on the reception of Pompeii since its rediscovery in 1748. As well as being used in the classroom at Bristol, the Model will allow Bristol students to collaborate with undergraduates studying a similar module in Liverpool. As a teaching tool, the Model offers an opportunity for students to experience the spatial effects of a Roman house and provides an introduction to the ways in which Pompeii has been displayed in museum settings. Most importantly, the Model provides an opportunity for students to assess the ethics of reconstruction and, through physical engagement with the act of reconstruction, to reflect on it both as a conceptual and manufactured process and as a finished product specifically of Victorian England or of 21st Century digital technology.
