[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.36,0:00:06.31,Default,,0000,0000,0000,,(piano music)
Dialogue: 0,0:00:06.31,0:00:08.24,Default,,0000,0000,0000,,Male voiceover: We're in the Brera\Nin Milan and we're looking at
Dialogue: 0,0:00:08.24,0:00:14.33,Default,,0000,0000,0000,,an enormous painting by Tintoretto, but\Nthis is only one of a series of paintings
Dialogue: 0,0:00:14.33,0:00:19.40,Default,,0000,0000,0000,,on the subject of Saint Mark,\Nthe single most important\NSaint for the city of Venice.
Dialogue: 0,0:00:19.47,0:00:23.24,Default,,0000,0000,0000,,Female voiceover: This was commissioned\Nfor the Scuola of Saint Mark
Dialogue: 0,0:00:23.24,0:00:28.54,Default,,0000,0000,0000,,or the confraternity of Saint Mark\Nin Venice by a man named Rangone.
Dialogue: 0,0:00:28.60,0:00:31.43,Default,,0000,0000,0000,,Male voiceover: And he can be seen in\Nthe middle of the painting kneeling
Dialogue: 0,0:00:31.43,0:00:34.31,Default,,0000,0000,0000,,in that fabulous gold brocade.
Dialogue: 0,0:00:34.36,0:00:36.44,Default,,0000,0000,0000,,Female voiceover: Gesturing\Ndown to the body of Saint Mark.
Dialogue: 0,0:00:36.44,0:00:40.98,Default,,0000,0000,0000,,Now, this whole painting takes\Nplace creepily in a cemetery.
Dialogue: 0,0:00:40.98,0:00:41.85,Default,,0000,0000,0000,,Male voiceover: (laughing) It is creepy.
Dialogue: 0,0:00:41.85,0:00:43.94,Default,,0000,0000,0000,,Female voiceover: It's really\Ncreepy. It's really dark.
Dialogue: 0,0:00:43.94,0:00:45.74,Default,,0000,0000,0000,,Male voiceover: (laughing)\NWell it's a night scene.
Dialogue: 0,0:00:45.74,0:00:47.47,Default,,0000,0000,0000,,Female voiceover: And\Nit's lit by a candle.
Dialogue: 0,0:00:47.47,0:00:51.71,Default,,0000,0000,0000,,So, you have this vast architectural\Nspace created by this rushing,
Dialogue: 0,0:00:51.71,0:00:53.98,Default,,0000,0000,0000,,exaggerated perspective.
Dialogue: 0,0:00:54.19,0:00:56.73,Default,,0000,0000,0000,,Male voiceover: But before we get\Nlost in the painting, let's talk about
Dialogue: 0,0:00:56.73,0:00:59.17,Default,,0000,0000,0000,,what's actually taking\Nplace, what's happening here.
Dialogue: 0,0:00:59.17,0:00:59.85,Default,,0000,0000,0000,,Female voiceover: Okay.
Dialogue: 0,0:00:59.85,0:01:02.69,Default,,0000,0000,0000,,Male voiceover: So this is the story of\Nthe finding of the body of Saint Mark.
Dialogue: 0,0:01:02.69,0:01:07.63,Default,,0000,0000,0000,,Saint Mark had died and was buried\Nin Alexandria that is in Egypt,
Dialogue: 0,0:01:07.63,0:01:11.64,Default,,0000,0000,0000,,and the story goes that in the 9th\Ncentury the Venetian merchants went
Dialogue: 0,0:01:11.64,0:01:13.24,Default,,0000,0000,0000,,to retrieve the body.
Dialogue: 0,0:01:13.24,0:01:17.18,Default,,0000,0000,0000,,Female voiceover: These Venetian merchants\Nwent to find the body of Saint Mark
Dialogue: 0,0:01:17.18,0:01:22.58,Default,,0000,0000,0000,,to bring it back to Christendom from\NIslamic Egypt, from Islamic Alexandria.
Dialogue: 0,0:01:22.62,0:01:24.61,Default,,0000,0000,0000,,Male voiceover: We have\Nthis perspectival space.
Dialogue: 0,0:01:24.61,0:01:28.19,Default,,0000,0000,0000,,It draws our eye all the way to\Nthe back, to that dark back wall,
Dialogue: 0,0:01:28.19,0:01:32.90,Default,,0000,0000,0000,,and there we see a number of figures\Nboth in shadow and silhouette
Dialogue: 0,0:01:32.90,0:01:37.31,Default,,0000,0000,0000,,finding the body of Saint Mark in\Na tomb brilliantly illuminated,
Dialogue: 0,0:01:37.31,0:01:39.86,Default,,0000,0000,0000,,and you can see the\Nstone has been picked up.
Dialogue: 0,0:01:39.86,0:01:41.47,Default,,0000,0000,0000,,Female voiceover: We have\Na continuous narrative.
Dialogue: 0,0:01:41.47,0:01:45.100,Default,,0000,0000,0000,,We have scene two in the foreground\Non the left where we see the body
Dialogue: 0,0:01:45.100,0:01:50.78,Default,,0000,0000,0000,,of Saint Mark foreshortened, splayed\Nout on the ground on top of a carpet.
Dialogue: 0,0:01:50.78,0:01:53.62,Default,,0000,0000,0000,,Male voiceover: Painted with a wonderful\Nlooseness that also reminds me of
Dialogue: 0,0:01:53.62,0:01:57.83,Default,,0000,0000,0000,,Mantegna's dead Christ with a wild\Nforeshortening and the way that we look
Dialogue: 0,0:01:57.83,0:02:01.03,Default,,0000,0000,0000,,up the body from the\Nfeet up towards the head.
Dialogue: 0,0:02:01.03,0:02:05.27,Default,,0000,0000,0000,,Female voiceover: You see the texture\Nof the oil paint and very dark outlines
Dialogue: 0,0:02:05.27,0:02:07.91,Default,,0000,0000,0000,,and very stark illumination on that body.
Dialogue: 0,0:02:08.13,0:02:11.17,Default,,0000,0000,0000,,Male voiceover: You also see\NTintoretto's patron, the man\Nwho paid for these paintings
Dialogue: 0,0:02:11.17,0:02:16.17,Default,,0000,0000,0000,,who seems to be gesturing toward the body\Nof Saint Mark in a very protective way.
Dialogue: 0,0:02:16.17,0:02:17.66,Default,,0000,0000,0000,,Female voiceover: In a\Nway that makes us sense
Dialogue: 0,0:02:17.66,0:02:20.50,Default,,0000,0000,0000,,that figure does not belong to this time.
Dialogue: 0,0:02:20.50,0:02:22.58,Default,,0000,0000,0000,,He's not a 9th century Venetian.
Dialogue: 0,0:02:22.58,0:02:25.26,Default,,0000,0000,0000,,He's a 16th century Venetian.
Dialogue: 0,0:02:25.50,0:02:28.92,Default,,0000,0000,0000,,Male voiceover: There's a kind\Nof collapsing of time, of space.
Dialogue: 0,0:02:28.92,0:02:30.26,Default,,0000,0000,0000,,It's a very complicated image.
Dialogue: 0,0:02:30.26,0:02:33.17,Default,,0000,0000,0000,,Not only was the body found\Nin the back of the painting,
Dialogue: 0,0:02:33.17,0:02:35.63,Default,,0000,0000,0000,,and then we see the body in\Nthe front of the painting
Dialogue: 0,0:02:35.63,0:02:39.50,Default,,0000,0000,0000,,but then we see this very noble\Nfigure in red and blue who stands
Dialogue: 0,0:02:39.50,0:02:42.75,Default,,0000,0000,0000,,up just to the left of\Nthis yellow, dead body
Dialogue: 0,0:02:42.75,0:02:44.91,Default,,0000,0000,0000,,and that is also Saint Mark.
Dialogue: 0,0:02:44.91,0:02:49.70,Default,,0000,0000,0000,,Female voiceover: Miraculously alive,\Nmaking this grand gesture to stop
Dialogue: 0,0:02:49.70,0:02:52.56,Default,,0000,0000,0000,,the raiding of the tombs that's\Ntaking place to the right
Dialogue: 0,0:02:52.56,0:02:55.84,Default,,0000,0000,0000,,where we see yet another body\Nbeing removed from a tomb.
Dialogue: 0,0:02:55.84,0:02:58.44,Default,,0000,0000,0000,,Male voiceover: Okay. So if we look\Nat the architecture you can see
Dialogue: 0,0:02:58.44,0:03:01.92,Default,,0000,0000,0000,,again this wonderfully recessive\Nspace with all of these arches
Dialogue: 0,0:03:01.92,0:03:05.88,Default,,0000,0000,0000,,and to the right of those arches we\Ncan see there's a series of tombs
Dialogue: 0,0:03:05.88,0:03:10.08,Default,,0000,0000,0000,,that are attached to the walls and in one\Nclose to us a figure is gently lowering
Dialogue: 0,0:03:10.08,0:03:11.80,Default,,0000,0000,0000,,one of these corpses.
Dialogue: 0,0:03:11.80,0:03:14.91,Default,,0000,0000,0000,,So, there's a kind of\Ndesecration at the same time
Dialogue: 0,0:03:14.91,0:03:16.25,Default,,0000,0000,0000,,that there's a kind of honoring.
Dialogue: 0,0:03:16.25,0:03:19.92,Default,,0000,0000,0000,,Female voiceover: Finally, on the\Nlower right we see two figures who
Dialogue: 0,0:03:19.92,0:03:23.50,Default,,0000,0000,0000,,are possessed by demons who seem\Nto be grabbing the body of a woman
Dialogue: 0,0:03:23.50,0:03:26.25,Default,,0000,0000,0000,,who's moving out of the canvas towards us.
Dialogue: 0,0:03:26.25,0:03:28.33,Default,,0000,0000,0000,,Male voiceover: And we haven't\Neven talked about the thing
Dialogue: 0,0:03:28.33,0:03:30.75,Default,,0000,0000,0000,,that makes this painting\Nmost remarkable, in my eyes,
Dialogue: 0,0:03:30.75,0:03:34.83,Default,,0000,0000,0000,,which is the radical use of\Nlight, of color, of space.
Dialogue: 0,0:03:34.83,0:03:37.63,Default,,0000,0000,0000,,I've never seen a painter\Nthis early that has taken
Dialogue: 0,0:03:37.63,0:03:40.41,Default,,0000,0000,0000,,such license with the\Ntraditions of painting.
Dialogue: 0,0:03:40.41,0:03:42.74,Default,,0000,0000,0000,,Female voiceover: The space rushes back.
Dialogue: 0,0:03:42.74,0:03:47.17,Default,,0000,0000,0000,,The body of Saint Mark\Nis heroic and elongated.
Dialogue: 0,0:03:47.17,0:03:51.67,Default,,0000,0000,0000,,The contrast of light and\Ndark are dramatic and intense.
Dialogue: 0,0:03:51.67,0:03:55.08,Default,,0000,0000,0000,,It's as though all the tools of\Nthe Renaissance are being used
Dialogue: 0,0:03:55.08,0:03:56.96,Default,,0000,0000,0000,,for expressive purpose.
Dialogue: 0,0:03:57.13,0:03:59.00,Default,,0000,0000,0000,,Male voiceover: Look at the\Nway that this produces an image
Dialogue: 0,0:03:59.00,0:04:03.09,Default,,0000,0000,0000,,that is so different from anything\Nthat we would expect from say Raphael.
Dialogue: 0,0:04:03.09,0:04:05.77,Default,,0000,0000,0000,,Instead, this is a world\Nof mystery where only
Dialogue: 0,0:04:05.77,0:04:09.08,Default,,0000,0000,0000,,the faintest delineation of form is given.
Dialogue: 0,0:04:09.08,0:04:13.17,Default,,0000,0000,0000,,Female voiceover: So here we are\Nin the 1560s after the Reformation,
Dialogue: 0,0:04:13.17,0:04:15.13,Default,,0000,0000,0000,,after the Council of Trent.
Dialogue: 0,0:04:15.13,0:04:16.71,Default,,0000,0000,0000,,This is Mannerism.
Dialogue: 0,0:04:16.71,0:04:21.33,Default,,0000,0000,0000,,All of the balance and harmony that\Nwe expect from the high Renaissance
Dialogue: 0,0:04:21.33,0:04:23.67,Default,,0000,0000,0000,,when we think about artists like Raphael.
Dialogue: 0,0:04:23.67,0:04:25.14,Default,,0000,0000,0000,,We have the opposite here.
Dialogue: 0,0:04:25.14,0:04:29.04,Default,,0000,0000,0000,,We have a composition that's coming\Napart, that's stretching at its seams.
Dialogue: 0,0:04:29.04,0:04:34.20,Default,,0000,0000,0000,,We can see here decades of Venetian\Nartists' experience with oil paint.
Dialogue: 0,0:04:34.20,0:04:40.33,Default,,0000,0000,0000,,Belleni in the late 15th century,\NTitian, and here brought to a height
Dialogue: 0,0:04:40.33,0:04:45.22,Default,,0000,0000,0000,,of painterliness, of real visibility\Nof brushwork by Tintoretto.
Dialogue: 0,0:04:45.30,0:04:50.96,Default,,0000,0000,0000,,(piano music)