for instance "the pointed arch as an indexical sign of a break with the past". Murray's work also carefully encourages historians of architecture to consider how Gothic buildings as they are today have gone through "800 years of change", during which time a building may have been experienced in a variety of ways. In his 1996 book about Amiens, Michael T. Davis notes that part of Murray's original approach was to insist that to experience a cathedral, a modern visitor must use their imagination to fully appreciate "the 'joyful spectacle' of human agency" that made the cathedral possible. Relationship between Gothic architecture and writing Murray's most notable contribution to architectural historiography and analysis is the way the he combines analysis of a medieval building with analysis of writing about the building from the time of the its creation and initial reception. In doing so, he reveals how internal politicking and financial decisions influence the design of medieval cathedrals as much as religious doctrine. Plotting Gothic, Murray's 2015 book, is "premised upon a compelling analogy: the three-dimensional layout of the space of a great church—its plot—is not only constructed through a geometric schema ... but it is also textually and rhetorically constructed". Murray argues that the experience of cathedral spaces is influenced by writing about that space: for instance, in his 13th-century account of the rebuilding of Canterbury Cathedral after a fire, Gervase of Canterbury used imagery and ideas from the Book of Genesis, with the result being the creation of a "Biblical precedent" for what the building signifies. Murray also discusses how writing by Villard de Honnecourt, "author of a pictorial treatise on Gothic art and architecture", invented the meaning of Gothic, and how Abbot Suger's writing about the abbey church at St Denis influenced the phases of re-building and re-design the site. Writing about a place, Murray suggests, can be seen to affect how the place is used, rebuilt or repaired, perceived, and experienced. Mapping Gothic France Reviewing the 'Mapping Gothic France' website for The Digital Medievalist, Katherine Werwie praised the quality of the photographs and data captured: "The sections of the website presenting individual monuments offer significant collections of photographs that are particularly useful because the locations from which they were taken as well as the direction of each view are clearly marked. Short of visiting these monuments, one would be hard pressed to find a better visualization