Space In The Middle Ages

This movement through space evokes a movement through time, as the notion of space in the Middle-Ages intertwined the idea of a flow through physical and temporal space.1 This movement is both horizontal and vertical. The evolution of time is expressed horizontally across the screen through the unfolding of the events of the Passion, and the interactions between the donor figures in the apse and the Crucifixon group described by Jacqueline Jung.2 As moving around the nave is necessary to witness this interaction, it includes the viewer, who becomes the double of the donors in their interaction with the Crucifixion group. The viewer thus becomes part of this timeline, or it at least promised to become part of it, whilst simulteanously still
This cross, which replicates the internal architecture of the cathedral, cannot form without the dynamism of the believer's trajectory across the nave. The screen therefore interacts with the cathedral's interior not only through dividing space, but through the implied movement of believers within it, which is essential for the screen to achieve its full spiritual significance. This illustrates Guest's argument on space gaining meaning through ideological investments.4 Here, the viewer crossing the screen is the creator and actor of this ideological investment, whilst at the same time being subject to a transformation operated by the screen. This transformative virtue of is announced through the framing of the miracle of the