[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.95,0:00:02.88,Default,,0000,0000,0000,,Imagine you're in Rome
Dialogue: 0,0:00:02.88,0:00:06.10,Default,,0000,0000,0000,,and you've made your way\Nto the Vatican Museums,
Dialogue: 0,0:00:06.10,0:00:09.73,Default,,0000,0000,0000,,and you've been shuffling\Ndown long corridors,
Dialogue: 0,0:00:09.73,0:00:14.42,Default,,0000,0000,0000,,past statues, frescoes,\Nlots and lots of stuff.
Dialogue: 0,0:00:14.42,0:00:16.92,Default,,0000,0000,0000,,You're heading towards the Sistine Chapel.
Dialogue: 0,0:00:16.92,0:00:22.15,Default,,0000,0000,0000,,At last, a long corridor,\Na stair, and a door.
Dialogue: 0,0:00:22.15,0:00:25.35,Default,,0000,0000,0000,,You're at the threshold\Nof the Sistine Chapel.
Dialogue: 0,0:00:25.35,0:00:27.14,Default,,0000,0000,0000,,So what are you expecting?
Dialogue: 0,0:00:27.14,0:00:29.58,Default,,0000,0000,0000,,Soaring domes? Choirs of angels?
Dialogue: 0,0:00:29.58,0:00:31.76,Default,,0000,0000,0000,,We don't really have any of that there.
Dialogue: 0,0:00:31.76,0:00:36.28,Default,,0000,0000,0000,,Instead, you may ask yourself,\Nwhat do we have?
Dialogue: 0,0:00:36.28,0:00:38.93,Default,,0000,0000,0000,,Well, curtains up on the Sistine Chapel.
Dialogue: 0,0:00:38.93,0:00:41.65,Default,,0000,0000,0000,,And I mean literally, you're surrounded\Nby painted curtains,
Dialogue: 0,0:00:41.65,0:00:44.09,Default,,0000,0000,0000,,the original decoration of this chapel.
Dialogue: 0,0:00:44.09,0:00:48.87,Default,,0000,0000,0000,,Churches used tapestries not just\Nto keep out cold during long masses,
Dialogue: 0,0:00:48.87,0:00:52.63,Default,,0000,0000,0000,,but as a way to represent\Nthe great theater of life.
Dialogue: 0,0:00:52.63,0:00:57.79,Default,,0000,0000,0000,,The human drama in which each one of us\Nplays a part is a great story,
Dialogue: 0,0:00:57.79,0:01:00.62,Default,,0000,0000,0000,,a story that encompasses the whole world,
Dialogue: 0,0:01:00.62,0:01:03.98,Default,,0000,0000,0000,,and that came to unfold\Nin the three stages
Dialogue: 0,0:01:03.98,0:01:06.28,Default,,0000,0000,0000,,of the painting in the Sistine Chapel.
Dialogue: 0,0:01:06.28,0:01:09.77,Default,,0000,0000,0000,,Now, this building started out\Nas a space for a small group
Dialogue: 0,0:01:09.77,0:01:12.60,Default,,0000,0000,0000,,of wealthy, educated Christian priests.
Dialogue: 0,0:01:12.60,0:01:15.46,Default,,0000,0000,0000,,They prayed there.\NThey elected their Pope there.
Dialogue: 0,0:01:15.46,0:01:19.77,Default,,0000,0000,0000,,Five hundred years ago, it was the ultimate\Necclesiastical man cave.
Dialogue: 0,0:01:19.77,0:01:25.28,Default,,0000,0000,0000,,So, you may ask, how can it be\Nthat today it attracts and delights
Dialogue: 0,0:01:25.28,0:01:28.13,Default,,0000,0000,0000,,five million people a year,
Dialogue: 0,0:01:28.13,0:01:30.34,Default,,0000,0000,0000,,from all different backgrounds?
Dialogue: 0,0:01:30.34,0:01:34.84,Default,,0000,0000,0000,,Because in that compressed space,\Nthere was a creative explosion,
Dialogue: 0,0:01:34.84,0:01:39.81,Default,,0000,0000,0000,,ignited by the electric excitement\Nof new geopolitical frontiers
Dialogue: 0,0:01:39.81,0:01:44.13,Default,,0000,0000,0000,,which set on fire the ancient\Nmissionary tradition of the Church
Dialogue: 0,0:01:44.13,0:01:47.78,Default,,0000,0000,0000,,and produced one of the greatest\Nworks of art in history.
Dialogue: 0,0:01:47.78,0:01:52.72,Default,,0000,0000,0000,,Now, this development took place\Nas a great evolution,
Dialogue: 0,0:01:52.72,0:01:55.44,Default,,0000,0000,0000,,moving from the beginning of a few elite
Dialogue: 0,0:01:55.44,0:01:58.90,Default,,0000,0000,0000,,and eventually able to speak\Nto audiences of people
Dialogue: 0,0:01:58.90,0:02:01.31,Default,,0000,0000,0000,,that come from all over the world.
Dialogue: 0,0:02:01.31,0:02:04.12,Default,,0000,0000,0000,,This evolution took place in three stages,
Dialogue: 0,0:02:04.12,0:02:07.26,Default,,0000,0000,0000,,each one linked\Nto a historical circumstance.
Dialogue: 0,0:02:07.26,0:02:09.42,Default,,0000,0000,0000,,The first one was rather limited in scope.
Dialogue: 0,0:02:09.42,0:02:12.20,Default,,0000,0000,0000,,It reflected the rather\Nparochial perspective.
Dialogue: 0,0:02:12.20,0:02:16.61,Default,,0000,0000,0000,,The second one took place after\Nworldviews were dramatically altered
Dialogue: 0,0:02:16.61,0:02:19.26,Default,,0000,0000,0000,,after Columbus's historical voyage.
Dialogue: 0,0:02:19.26,0:02:20.19,Default,,0000,0000,0000,,And the third,
Dialogue: 0,0:02:20.19,0:02:23.52,Default,,0000,0000,0000,,when the Age of Discovery\Nwas well under way
Dialogue: 0,0:02:23.52,0:02:28.37,Default,,0000,0000,0000,,and the Church rose to the challenge\Nof going global.
Dialogue: 0,0:02:28.37,0:02:32.37,Default,,0000,0000,0000,,The original decoration of this church\Nreflected a smaller world.
Dialogue: 0,0:02:32.37,0:02:34.22,Default,,0000,0000,0000,,There were busy scenes
Dialogue: 0,0:02:34.22,0:02:37.52,Default,,0000,0000,0000,,that told the stories of the lives\Nof Jesus and Moses,
Dialogue: 0,0:02:37.52,0:02:41.75,Default,,0000,0000,0000,,reflecting the development\Nof the Jewish and Christian people.
Dialogue: 0,0:02:41.75,0:02:44.18,Default,,0000,0000,0000,,The man who commissioned this,\NPope Sixtus IV,
Dialogue: 0,0:02:44.18,0:02:47.43,Default,,0000,0000,0000,,assembled a dream team\Nof Florentine art,
Dialogue: 0,0:02:47.43,0:02:50.45,Default,,0000,0000,0000,,including men like Sandro Botticelli,
Dialogue: 0,0:02:50.45,0:02:53.98,Default,,0000,0000,0000,,and the man who would become\NMichelangelo's future painting teacher,
Dialogue: 0,0:02:53.98,0:02:55.54,Default,,0000,0000,0000,,Ghirlandaio.
Dialogue: 0,0:02:55.54,0:03:00.80,Default,,0000,0000,0000,,These men, they blanked the walls\Nwith a frieze of pure color,
Dialogue: 0,0:03:00.80,0:03:04.29,Default,,0000,0000,0000,,and in these stories you'll notice\Nfamiliar landscapes,
Dialogue: 0,0:03:04.29,0:03:07.05,Default,,0000,0000,0000,,the artists using Roman monuments\Nor a Tuscan landscape
Dialogue: 0,0:03:07.05,0:03:11.56,Default,,0000,0000,0000,,to render a faraway story,\Nsomething much more familiar,
Dialogue: 0,0:03:11.56,0:03:15.22,Default,,0000,0000,0000,,with the addition of images\Nof the Pope's friends and family.
Dialogue: 0,0:03:15.22,0:03:18.08,Default,,0000,0000,0000,,This was a perfect decoration\Nfor a smart court
Dialogue: 0,0:03:18.08,0:03:20.24,Default,,0000,0000,0000,,limited to the European continent,
Dialogue: 0,0:03:20.24,0:03:25.21,Default,,0000,0000,0000,,but in 1492, the New World was discovered,
Dialogue: 0,0:03:25.21,0:03:27.32,Default,,0000,0000,0000,,horizons were expanding,
Dialogue: 0,0:03:27.32,0:03:33.29,Default,,0000,0000,0000,,and this little 133 x 46 foot microcosm\Nhad to expand as well.
Dialogue: 0,0:03:33.29,0:03:35.01,Default,,0000,0000,0000,,And it did,
Dialogue: 0,0:03:35.01,0:03:37.05,Default,,0000,0000,0000,,thanks to a creative genius,
Dialogue: 0,0:03:37.05,0:03:40.21,Default,,0000,0000,0000,,a visionary, and an awesome story.
Dialogue: 0,0:03:40.21,0:03:42.78,Default,,0000,0000,0000,,Now, the creative genius\Nwas Michelangelo Buonarroti,
Dialogue: 0,0:03:42.78,0:03:47.31,Default,,0000,0000,0000,,33 years old when he was tapped\Nto decorate 12,000 square foot of ceiling,
Dialogue: 0,0:03:47.31,0:03:49.03,Default,,0000,0000,0000,,and the deck was stacked against him.
Dialogue: 0,0:03:49.03,0:03:52.16,Default,,0000,0000,0000,,He had trained in painting,\Nbut had left to pursue sculpture.
Dialogue: 0,0:03:52.16,0:03:55.62,Default,,0000,0000,0000,,There were angry patrons in Florence\Nbecause he had left a stack
Dialogue: 0,0:03:55.62,0:03:57.20,Default,,0000,0000,0000,,of incomplete commissions,
Dialogue: 0,0:03:57.20,0:04:00.82,Default,,0000,0000,0000,,lured to Rome by the prospect\Nof a great sculptural project,
Dialogue: 0,0:04:00.82,0:04:03.49,Default,,0000,0000,0000,,and that project had fallen through,
Dialogue: 0,0:04:03.49,0:04:06.83,Default,,0000,0000,0000,,and he had been left with a commission\Nto paint 12 apostles
Dialogue: 0,0:04:06.83,0:04:09.76,Default,,0000,0000,0000,,against a decorative background\Nin the Sistine Chapel ceiling
Dialogue: 0,0:04:09.76,0:04:13.40,Default,,0000,0000,0000,,which would look like\Nevery other ceiling in Italy.
Dialogue: 0,0:04:13.40,0:04:15.68,Default,,0000,0000,0000,,But genius rose to the challenge.
Dialogue: 0,0:04:15.68,0:04:19.11,Default,,0000,0000,0000,,In an age when a man dared\Nto sail across the Atlantic Ocean,
Dialogue: 0,0:04:19.11,0:04:22.90,Default,,0000,0000,0000,,Michelangelo dared to chart\Nnew artistic waters.
Dialogue: 0,0:04:22.90,0:04:25.36,Default,,0000,0000,0000,,He too would tell a story,
Dialogue: 0,0:04:25.36,0:04:28.84,Default,,0000,0000,0000,,no apostles, but a story\Nof great beginnings,
Dialogue: 0,0:04:28.84,0:04:31.30,Default,,0000,0000,0000,,the story of Genesis.
Dialogue: 0,0:04:31.30,0:04:33.93,Default,,0000,0000,0000,,Not really an easy sell,\Nstories on a ceiling.
Dialogue: 0,0:04:33.93,0:04:38.87,Default,,0000,0000,0000,,How would you be able to read\Na busy scene from 62 feet below?
Dialogue: 0,0:04:38.87,0:04:41.71,Default,,0000,0000,0000,,The painting technique that had been\Nhanded on for 200 years
Dialogue: 0,0:04:41.71,0:04:45.51,Default,,0000,0000,0000,,in Florentine studios was not equipped\Nfor this kind of a narrative.
Dialogue: 0,0:04:45.51,0:04:48.74,Default,,0000,0000,0000,,But Michelangelo wasn't really a painter,
Dialogue: 0,0:04:48.74,0:04:50.99,Default,,0000,0000,0000,,and so he played to his strengths.
Dialogue: 0,0:04:50.99,0:04:54.50,Default,,0000,0000,0000,,Instead of being accustomed\Nto filling space with busyness,
Dialogue: 0,0:04:54.50,0:04:58.38,Default,,0000,0000,0000,,he took a hammer and chisel\Nand hacked away at a piece of marble
Dialogue: 0,0:04:58.38,0:05:01.02,Default,,0000,0000,0000,,to reveal the figure within.
Dialogue: 0,0:05:01.02,0:05:03.14,Default,,0000,0000,0000,,Michelangelo was an essentialist.
Dialogue: 0,0:05:03.14,0:05:07.71,Default,,0000,0000,0000,,He would tell his story\Nin massive, dynamic bodies.
Dialogue: 0,0:05:07.71,0:05:12.17,Default,,0000,0000,0000,,This plan was embraced\Nby the larger-than-life Pope Julius II,
Dialogue: 0,0:05:12.17,0:05:15.82,Default,,0000,0000,0000,,a man who was unafraid\Nof Michelangelo's brazen genius.
Dialogue: 0,0:05:15.82,0:05:19.07,Default,,0000,0000,0000,,He was nephew to Pope Sixtus IV,\Nand he had been steeped in art
Dialogue: 0,0:05:19.07,0:05:21.85,Default,,0000,0000,0000,,for 30 years, and he knew its power.
Dialogue: 0,0:05:21.85,0:05:24.94,Default,,0000,0000,0000,,And history has handed down the moniker\Nof the Warrior Pope,
Dialogue: 0,0:05:24.94,0:05:29.05,Default,,0000,0000,0000,,but this man's legacy to the Vatican,\Nit wasn't fortresses and artillery,
Dialogue: 0,0:05:29.05,0:05:30.28,Default,,0000,0000,0000,,it was art.
Dialogue: 0,0:05:30.28,0:05:32.86,Default,,0000,0000,0000,,He left us the Raphael Rooms,\Nthe Sistine Chapel.
Dialogue: 0,0:05:32.86,0:05:35.34,Default,,0000,0000,0000,,He left St. Peter's Basilica as well as
Dialogue: 0,0:05:35.34,0:05:39.94,Default,,0000,0000,0000,,an extraordinary collection\Nof Greco-Roman sculptures,
Dialogue: 0,0:05:39.94,0:05:44.42,Default,,0000,0000,0000,,decidedly un-Christian works\Nthat would become the seedbed
Dialogue: 0,0:05:44.42,0:05:48.53,Default,,0000,0000,0000,,of the world's first modern museum,\Nthe Vatican Museums.
Dialogue: 0,0:05:48.53,0:05:50.30,Default,,0000,0000,0000,,Julius was a man
Dialogue: 0,0:05:50.30,0:05:54.10,Default,,0000,0000,0000,,who envisioned a Vatican\Nthat would be eternally relevant
Dialogue: 0,0:05:54.10,0:05:56.22,Default,,0000,0000,0000,,through grandeur and through beauty,
Dialogue: 0,0:05:56.22,0:05:57.68,Default,,0000,0000,0000,,and he was right:
Dialogue: 0,0:05:57.68,0:06:02.56,Default,,0000,0000,0000,,the encounter between these two giants,\NMichelangelo and Julius II,
Dialogue: 0,0:06:02.56,0:06:05.02,Default,,0000,0000,0000,,that's what gave us the Sistine Chapel.
Dialogue: 0,0:06:05.02,0:06:08.45,Default,,0000,0000,0000,,Michelangelo was so committed\Nto this project
Dialogue: 0,0:06:08.45,0:06:13.00,Default,,0000,0000,0000,,that he succeeded in getting the job done\Nin three and a half years
Dialogue: 0,0:06:13.00,0:06:14.58,Default,,0000,0000,0000,,using a skeleton crew
Dialogue: 0,0:06:14.58,0:06:17.32,Default,,0000,0000,0000,,and spending most of the time,\Nhours on end,
Dialogue: 0,0:06:17.32,0:06:21.64,Default,,0000,0000,0000,,reaching up above his head\Nto paint the stories on the ceiling.
Dialogue: 0,0:06:21.64,0:06:23.59,Default,,0000,0000,0000,,So let's look at this ceiling
Dialogue: 0,0:06:23.59,0:06:26.52,Default,,0000,0000,0000,,and see storytelling gone global.
Dialogue: 0,0:06:26.52,0:06:30.79,Default,,0000,0000,0000,,No more familiar artistic references\Nto the world around you.
Dialogue: 0,0:06:30.79,0:06:35.46,Default,,0000,0000,0000,,There's just space\Nand structure and energy,
Dialogue: 0,0:06:35.46,0:06:40.08,Default,,0000,0000,0000,,and a monumental painted framework\Nwhich opens onto nine panels,
Dialogue: 0,0:06:40.08,0:06:43.91,Default,,0000,0000,0000,,more driven by sculptural form\Nthan painterly color,
Dialogue: 0,0:06:43.91,0:06:46.62,Default,,0000,0000,0000,,and we stand in the far end
Dialogue: 0,0:06:46.62,0:06:49.04,Default,,0000,0000,0000,,by the entrance, far from the altar
Dialogue: 0,0:06:49.04,0:06:51.96,Default,,0000,0000,0000,,and from the gated enclosure\Nintended for the clergy,
Dialogue: 0,0:06:51.96,0:06:57.24,Default,,0000,0000,0000,,and we peer into the distance\Nlooking for a beginning.
Dialogue: 0,0:06:57.24,0:07:01.28,Default,,0000,0000,0000,,And whether in scientific inquiry\Nor in Biblical tradition,
Dialogue: 0,0:07:01.28,0:07:04.62,Default,,0000,0000,0000,,we think in terms of a primal spark.
Dialogue: 0,0:07:04.62,0:07:07.64,Default,,0000,0000,0000,,Michelangelo gave us an initial energy\Nwhen he gave us
Dialogue: 0,0:07:07.64,0:07:09.54,Default,,0000,0000,0000,,the separation of light and dark,
Dialogue: 0,0:07:09.54,0:07:12.96,Default,,0000,0000,0000,,a churning figure blurry in the distance
Dialogue: 0,0:07:12.96,0:07:15.46,Default,,0000,0000,0000,,compressed into a tight space.
Dialogue: 0,0:07:15.46,0:07:17.67,Default,,0000,0000,0000,,The next figure looms larger,
Dialogue: 0,0:07:17.67,0:07:21.27,Default,,0000,0000,0000,,and you see a figure hurtling\Nfrom one side to the next.
Dialogue: 0,0:07:21.27,0:07:26.10,Default,,0000,0000,0000,,He leaves in his wake\Nthe sun, the moon, vegetation.
Dialogue: 0,0:07:26.10,0:07:30.44,Default,,0000,0000,0000,,Michelangelo didn't focus\Non the stuff that was being created,
Dialogue: 0,0:07:30.44,0:07:32.44,Default,,0000,0000,0000,,unlike all the other artists.
Dialogue: 0,0:07:32.44,0:07:35.85,Default,,0000,0000,0000,,He focused on the act of Creation.
Dialogue: 0,0:07:35.85,0:07:38.36,Default,,0000,0000,0000,,And then the movement stops,
Dialogue: 0,0:07:38.36,0:07:41.63,Default,,0000,0000,0000,,like a caesura in poetry,\Nand the Creator hovers.
Dialogue: 0,0:07:41.63,0:07:42.93,Default,,0000,0000,0000,,So what's He doing?
Dialogue: 0,0:07:42.93,0:07:45.97,Default,,0000,0000,0000,,Is he creating land? Is He creating sea?
Dialogue: 0,0:07:45.97,0:07:50.31,Default,,0000,0000,0000,,Or is He looking back over His handiwork,\Nthe Universe and His treasures,
Dialogue: 0,0:07:50.31,0:07:54.45,Default,,0000,0000,0000,,just like Michelangelo must have looking\Nback over his work in the ceiling
Dialogue: 0,0:07:54.45,0:07:58.58,Default,,0000,0000,0000,,and proclaiming, "It is good."
Dialogue: 0,0:07:58.58,0:08:00.79,Default,,0000,0000,0000,,So now the scene is set,
Dialogue: 0,0:08:00.79,0:08:03.99,Default,,0000,0000,0000,,and you get to the culmination\Nof Creation which is Man.
Dialogue: 0,0:08:03.99,0:08:08.36,Default,,0000,0000,0000,,Adam leaps to the eye,\Na light figure against a dark background,
Dialogue: 0,0:08:08.36,0:08:10.24,Default,,0000,0000,0000,,but looking closer,
Dialogue: 0,0:08:10.24,0:08:13.14,Default,,0000,0000,0000,,that leg is pretty languid on the ground,
Dialogue: 0,0:08:13.14,0:08:15.34,Default,,0000,0000,0000,,the arm is heavy on the knee.
Dialogue: 0,0:08:15.34,0:08:19.27,Default,,0000,0000,0000,,Adam lacks that interior spark
Dialogue: 0,0:08:19.27,0:08:21.36,Default,,0000,0000,0000,,that will impel him to greatness.
Dialogue: 0,0:08:21.36,0:08:26.37,Default,,0000,0000,0000,,That spark is about to be conferred\Nby the Creator in that finger,
Dialogue: 0,0:08:26.37,0:08:28.97,Default,,0000,0000,0000,,which is one millimeter\Nfrom the hand of Adam.
Dialogue: 0,0:08:28.97,0:08:32.29,Default,,0000,0000,0000,,It puts us at the edge of our seats,\Nbecause we're one moment
Dialogue: 0,0:08:32.29,0:08:33.85,Default,,0000,0000,0000,,from that contact,
Dialogue: 0,0:08:33.85,0:08:36.78,Default,,0000,0000,0000,,through which that man\Nwill discover his purpose,
Dialogue: 0,0:08:36.78,0:08:39.86,Default,,0000,0000,0000,,leap up and take his place\Nat the pinnacle of Creation.
Dialogue: 0,0:08:39.86,0:08:43.07,Default,,0000,0000,0000,,And then Michelangelo threw a curveball.
Dialogue: 0,0:08:43.07,0:08:45.81,Default,,0000,0000,0000,,Who is in that other arm?
Dialogue: 0,0:08:45.81,0:08:47.57,Default,,0000,0000,0000,,Eve, first woman.
Dialogue: 0,0:08:47.57,0:08:50.01,Default,,0000,0000,0000,,No, she's not an afterthought.\NShe's part of a plan.
Dialogue: 0,0:08:50.01,0:08:52.68,Default,,0000,0000,0000,,She's always been in His mind.
Dialogue: 0,0:08:52.68,0:08:55.68,Default,,0000,0000,0000,,Look at her, so intimate with God\Nthat her hand curls
Dialogue: 0,0:08:55.68,0:08:57.26,Default,,0000,0000,0000,,around his arm,
Dialogue: 0,0:08:57.26,0:09:00.97,Default,,0000,0000,0000,,and for me, an American art historian
Dialogue: 0,0:09:00.97,0:09:02.92,Default,,0000,0000,0000,,from the 21st century,
Dialogue: 0,0:09:02.92,0:09:05.64,Default,,0000,0000,0000,,this was the moment\Nthat the painting spoke to me,
Dialogue: 0,0:09:05.64,0:09:08.77,Default,,0000,0000,0000,,because I realized that this representation\Nof the human drama
Dialogue: 0,0:09:08.77,0:09:13.44,Default,,0000,0000,0000,,was always about men\Nand women, so much so
Dialogue: 0,0:09:13.44,0:09:15.76,Default,,0000,0000,0000,,that the dead center,\Nthe heart of the ceiling
Dialogue: 0,0:09:15.76,0:09:18.20,Default,,0000,0000,0000,,is the creation of Woman, not Adam,
Dialogue: 0,0:09:18.20,0:09:22.15,Default,,0000,0000,0000,,and the fact is, and when you see them\Ntogether in the Garden of Eden,
Dialogue: 0,0:09:22.15,0:09:23.89,Default,,0000,0000,0000,,they fall together,
Dialogue: 0,0:09:23.89,0:09:26.77,Default,,0000,0000,0000,,and together their proud posture
Dialogue: 0,0:09:26.77,0:09:28.65,Default,,0000,0000,0000,,turns into folded shame.
Dialogue: 0,0:09:28.65,0:09:31.50,Default,,0000,0000,0000,,You art a critical juncture\Nnow in the ceiling.
Dialogue: 0,0:09:31.50,0:09:34.57,Default,,0000,0000,0000,,You are exactly at the point\Nwhere you and I can go
Dialogue: 0,0:09:34.57,0:09:36.24,Default,,0000,0000,0000,,no further into the church.
Dialogue: 0,0:09:36.24,0:09:39.10,Default,,0000,0000,0000,,The gated enclosure\Nkeeps us out of the inner sanctum,
Dialogue: 0,0:09:39.10,0:09:41.90,Default,,0000,0000,0000,,and we are cast out\Nmuch like Adam and Eve.
Dialogue: 0,0:09:41.90,0:09:43.62,Default,,0000,0000,0000,,The remaining scenes in the ceiling,
Dialogue: 0,0:09:43.62,0:09:46.32,Default,,0000,0000,0000,,they mirror the crowded chaos\Nof the world around us.
Dialogue: 0,0:09:46.32,0:09:48.85,Default,,0000,0000,0000,,You have Noah and his Ark and the flood.
Dialogue: 0,0:09:48.85,0:09:52.35,Default,,0000,0000,0000,,You have Noah. He's making a sacrifice\Nand a covenant with God.
Dialogue: 0,0:09:52.35,0:09:53.84,Default,,0000,0000,0000,,Maybe he's the Savior?
Dialogue: 0,0:09:53.84,0:09:57.79,Default,,0000,0000,0000,,Oh, but no, Noah is the one\Nwho grew grapes, invented wine,
Dialogue: 0,0:09:57.79,0:09:59.97,Default,,0000,0000,0000,,got drunk, and passed out\Nnaked in his barn.
Dialogue: 0,0:09:59.97,0:10:02.94,Default,,0000,0000,0000,,It is a curious way to design the ceiling,
Dialogue: 0,0:10:02.94,0:10:04.71,Default,,0000,0000,0000,,now starting out with God creating life,
Dialogue: 0,0:10:04.71,0:10:07.45,Default,,0000,0000,0000,,ending up with some guy\Nblind drunk in a barn.
Dialogue: 0,0:10:07.45,0:10:09.81,Default,,0000,0000,0000,,And so, compared with Adam,
Dialogue: 0,0:10:09.81,0:10:12.69,Default,,0000,0000,0000,,you might think Michelangelo\Nis making fun of us.
Dialogue: 0,0:10:12.69,0:10:14.83,Default,,0000,0000,0000,,But he's about to dispel the gloom
Dialogue: 0,0:10:14.83,0:10:18.30,Default,,0000,0000,0000,,by using those bright colors\Nright underneath Noah:
Dialogue: 0,0:10:18.30,0:10:21.72,Default,,0000,0000,0000,,emerald, taupe, and scarlet\Non the Prophet Zechariah.
Dialogue: 0,0:10:21.72,0:10:24.90,Default,,0000,0000,0000,,Zechariah foresees a light\Ncoming from the east,
Dialogue: 0,0:10:24.90,0:10:28.43,Default,,0000,0000,0000,,and we are turned at this juncture\Nto a new destination,
Dialogue: 0,0:10:28.43,0:10:32.08,Default,,0000,0000,0000,,with sibyls and prophets\Nwho will lead us on a parade.
Dialogue: 0,0:10:32.08,0:10:35.65,Default,,0000,0000,0000,,You have the heroes and heroines\Nwho make safe the way,
Dialogue: 0,0:10:35.65,0:10:38.16,Default,,0000,0000,0000,,and we follow the mothers and fathers.
Dialogue: 0,0:10:38.16,0:10:42.27,Default,,0000,0000,0000,,They are the motors of this great\Nhuman engine, driving it forward.
Dialogue: 0,0:10:42.27,0:10:45.80,Default,,0000,0000,0000,,And now we're at the keystone\Nof the ceiling,
Dialogue: 0,0:10:45.80,0:10:48.42,Default,,0000,0000,0000,,the culmination of the whole thing,
Dialogue: 0,0:10:48.42,0:10:50.74,Default,,0000,0000,0000,,with a figure that looks like\Nhe's about to fall out of his space
Dialogue: 0,0:10:50.74,0:10:52.02,Default,,0000,0000,0000,,into our space,
Dialogue: 0,0:10:52.02,0:10:53.45,Default,,0000,0000,0000,,encroaching our space.
Dialogue: 0,0:10:53.45,0:10:55.80,Default,,0000,0000,0000,,This is the most important juncture.
Dialogue: 0,0:10:55.80,0:10:57.86,Default,,0000,0000,0000,,Past meets present.
Dialogue: 0,0:10:57.86,0:11:00.79,Default,,0000,0000,0000,,This figure, Jonah, who spent three days\Nin the belly of the whale,
Dialogue: 0,0:11:00.79,0:11:03.55,Default,,0000,0000,0000,,for the Christians is the symbol\Nof the renewal of humanity
Dialogue: 0,0:11:03.55,0:11:06.38,Default,,0000,0000,0000,,through Jesus's sacrifice,\Nbut for the multitudes
Dialogue: 0,0:11:06.38,0:11:10.66,Default,,0000,0000,0000,,of visitors to that museum\Nfrom all faiths who visit there every day,
Dialogue: 0,0:11:10.66,0:11:13.72,Default,,0000,0000,0000,,he is the moment the distant past
Dialogue: 0,0:11:13.72,0:11:18.25,Default,,0000,0000,0000,,encounters and meets immediate reality.
Dialogue: 0,0:11:18.25,0:11:22.71,Default,,0000,0000,0000,,All of this brings us to the yawning\Narchway of the altar wall,
Dialogue: 0,0:11:22.71,0:11:25.68,Default,,0000,0000,0000,,where we see Michelangelo's Last Judgment,
Dialogue: 0,0:11:25.68,0:11:29.38,Default,,0000,0000,0000,,painted in 1534 after the world\Nhad changed again.
Dialogue: 0,0:11:29.38,0:11:31.36,Default,,0000,0000,0000,,The Reformation had splintered the Church.
Dialogue: 0,0:11:31.36,0:11:34.49,Default,,0000,0000,0000,,The Ottoman Empire had made\NIslam a household word,
Dialogue: 0,0:11:34.49,0:11:37.62,Default,,0000,0000,0000,,and Magellan had found a route\Ninto the Pacific Ocean.
Dialogue: 0,0:11:37.62,0:11:42.38,Default,,0000,0000,0000,,How is a 59-year old artist who has never\Nbeen any further than Venice
Dialogue: 0,0:11:42.38,0:11:44.75,Default,,0000,0000,0000,,going to speak to this new world?
Dialogue: 0,0:11:44.75,0:11:47.93,Default,,0000,0000,0000,,Michelangelo chose to paint destiny,
Dialogue: 0,0:11:47.93,0:11:49.74,Default,,0000,0000,0000,,that universal desire,
Dialogue: 0,0:11:49.74,0:11:51.48,Default,,0000,0000,0000,,common to all of us,
Dialogue: 0,0:11:51.48,0:11:54.38,Default,,0000,0000,0000,,to leave a legacy of excellence.
Dialogue: 0,0:11:54.38,0:11:58.00,Default,,0000,0000,0000,,Told in terms of the Christian vision\Nof the Last Judgment,
Dialogue: 0,0:11:58.00,0:11:59.42,Default,,0000,0000,0000,,the end of the world,
Dialogue: 0,0:11:59.42,0:12:01.70,Default,,0000,0000,0000,,Michelangelo gave you\Na series of figures
Dialogue: 0,0:12:01.70,0:12:05.04,Default,,0000,0000,0000,,who are wearing these\Nstrikingly beautiful bodies.
Dialogue: 0,0:12:05.04,0:12:07.87,Default,,0000,0000,0000,,They have no more covers,\Nno more portraits
Dialogue: 0,0:12:07.87,0:12:09.27,Default,,0000,0000,0000,,except for a couple.
Dialogue: 0,0:12:09.27,0:12:11.94,Default,,0000,0000,0000,,It's a composition\Nonly out of bodies,
Dialogue: 0,0:12:11.94,0:12:15.37,Default,,0000,0000,0000,,391, no two alike,
Dialogue: 0,0:12:15.37,0:12:17.76,Default,,0000,0000,0000,,unique like each\Nand every one of us.
Dialogue: 0,0:12:17.76,0:12:21.57,Default,,0000,0000,0000,,They start in the lower corner,\Nbreaking away from the ground,
Dialogue: 0,0:12:21.57,0:12:24.36,Default,,0000,0000,0000,,struggling and trying to rise.
Dialogue: 0,0:12:24.36,0:12:26.82,Default,,0000,0000,0000,,Those who have risen\Nreach back to help others,
Dialogue: 0,0:12:26.82,0:12:28.54,Default,,0000,0000,0000,,and in one amazing vignette,
Dialogue: 0,0:12:28.54,0:12:31.90,Default,,0000,0000,0000,,you have a black man and a white man\Npulled up together
Dialogue: 0,0:12:31.90,0:12:35.94,Default,,0000,0000,0000,,in an incredible vision of human unity\Nin this new world.
Dialogue: 0,0:12:35.94,0:12:39.54,Default,,0000,0000,0000,,The lion's share of the space\Ngoes to the winner's circle.
Dialogue: 0,0:12:39.54,0:12:44.26,Default,,0000,0000,0000,,There you find men and women\Ncompletely nude like athletes.
Dialogue: 0,0:12:44.26,0:12:46.67,Default,,0000,0000,0000,,They are the ones\Nwho have overcome adversity,
Dialogue: 0,0:12:46.67,0:12:50.41,Default,,0000,0000,0000,,and Michelangelo's vision\Nof people who combat adversity,
Dialogue: 0,0:12:50.41,0:12:51.83,Default,,0000,0000,0000,,overcome obstacles,
Dialogue: 0,0:12:51.83,0:12:53.80,Default,,0000,0000,0000,,they're just like athletes.
Dialogue: 0,0:12:53.80,0:12:57.24,Default,,0000,0000,0000,,So you have men and women\Nflexing and posing
Dialogue: 0,0:12:57.24,0:12:59.19,Default,,0000,0000,0000,,in this extraordinary spotlight.
Dialogue: 0,0:12:59.19,0:13:02.25,Default,,0000,0000,0000,,Presiding over this assembly is Jesus,
Dialogue: 0,0:13:02.25,0:13:04.34,Default,,0000,0000,0000,,first a suffering man on the cross,
Dialogue: 0,0:13:04.34,0:13:06.59,Default,,0000,0000,0000,,now a glorious ruler in Heaven.
Dialogue: 0,0:13:06.59,0:13:09.64,Default,,0000,0000,0000,,And as Michelangelo\Nproved in his painting,
Dialogue: 0,0:13:09.64,0:13:11.98,Default,,0000,0000,0000,,hardship, setbacks, and obstacles,
Dialogue: 0,0:13:11.98,0:13:16.28,Default,,0000,0000,0000,,they don't limit excellence,\Nthey forge it.
Dialogue: 0,0:13:16.28,0:13:18.78,Default,,0000,0000,0000,,Now, this does lead us\Nto one odd thing.
Dialogue: 0,0:13:18.78,0:13:20.85,Default,,0000,0000,0000,,This is the Pope's private chapel,
Dialogue: 0,0:13:20.85,0:13:23.87,Default,,0000,0000,0000,,and the best way you can describe that\Nis indeed a stew of nudes.
Dialogue: 0,0:13:23.87,0:13:27.86,Default,,0000,0000,0000,,But Michelangelo was trying to use\Nonly the best artistic language,
Dialogue: 0,0:13:27.86,0:13:30.23,Default,,0000,0000,0000,,the most universal artistic language\Nhe could think of,
Dialogue: 0,0:13:30.23,0:13:32.11,Default,,0000,0000,0000,,that of the human body.
Dialogue: 0,0:13:32.11,0:13:37.89,Default,,0000,0000,0000,,And so instead of the way of showing\Nvirtue such as fortitude or self-mastery,
Dialogue: 0,0:13:37.89,0:13:42.21,Default,,0000,0000,0000,,he borrowed from Julius II's\Nwonderful collection of sculptures
Dialogue: 0,0:13:42.21,0:13:46.97,Default,,0000,0000,0000,,in order to show inner strength\Nas external power.
Dialogue: 0,0:13:46.97,0:13:50.76,Default,,0000,0000,0000,,Now, one contemporary did write
Dialogue: 0,0:13:50.76,0:13:54.94,Default,,0000,0000,0000,,that the chapel was too beautiful\Nto not cause controversy,
Dialogue: 0,0:13:54.94,0:13:56.24,Default,,0000,0000,0000,,and so it did.
Dialogue: 0,0:13:56.24,0:13:59.72,Default,,0000,0000,0000,,Michelangelo soon found\Nthat thanks to the printing press,
Dialogue: 0,0:13:59.72,0:14:02.90,Default,,0000,0000,0000,,complaints about the nudity\Nspread all over the place,
Dialogue: 0,0:14:02.90,0:14:07.22,Default,,0000,0000,0000,,and soon his masterpiece of human drama\Nwas labeled pornography,
Dialogue: 0,0:14:07.22,0:14:09.24,Default,,0000,0000,0000,,at which point he added\Ntwo more portraits,
Dialogue: 0,0:14:09.24,0:14:11.75,Default,,0000,0000,0000,,one of the man who criticized him,\Na papal courtier,
Dialogue: 0,0:14:11.75,0:14:15.90,Default,,0000,0000,0000,,and the other one of himself\Nas a dried up husk, no athlete,
Dialogue: 0,0:14:15.90,0:14:18.46,Default,,0000,0000,0000,,in the hands of a long-suffering martyr.
Dialogue: 0,0:14:18.46,0:14:22.08,Default,,0000,0000,0000,,The year he died he saw\Nseveral of these figures covered over,
Dialogue: 0,0:14:22.08,0:14:28.07,Default,,0000,0000,0000,,a triumph for trivial distractions\Nover his great exhortation to glory.
Dialogue: 0,0:14:28.07,0:14:30.21,Default,,0000,0000,0000,,And so now we stand
Dialogue: 0,0:14:30.21,0:14:32.16,Default,,0000,0000,0000,,in the here and now.
Dialogue: 0,0:14:32.16,0:14:34.29,Default,,0000,0000,0000,,We are caught in that space
Dialogue: 0,0:14:34.29,0:14:36.43,Default,,0000,0000,0000,,between beginnings and endings,
Dialogue: 0,0:14:36.43,0:14:40.54,Default,,0000,0000,0000,,in the great, huge totality\Nof the human experience.
Dialogue: 0,0:14:40.54,0:14:44.53,Default,,0000,0000,0000,,The Sistine Chapel forces us\Nto look around as if it were a mirror.
Dialogue: 0,0:14:44.53,0:14:46.13,Default,,0000,0000,0000,,Who am I in this picture?
Dialogue: 0,0:14:46.13,0:14:48.64,Default,,0000,0000,0000,,Am I one of the crowd?\NAm I the drunk guy?
Dialogue: 0,0:14:48.64,0:14:50.20,Default,,0000,0000,0000,,Am I the athlete?
Dialogue: 0,0:14:50.20,0:14:52.59,Default,,0000,0000,0000,,And as we leave this haven\Nof uplifting beauty,
Dialogue: 0,0:14:52.59,0:14:56.37,Default,,0000,0000,0000,,we are inspired to ask ourselves\Nlife's biggest questions.
Dialogue: 0,0:14:56.37,0:15:01.62,Default,,0000,0000,0000,,Who am I and what role do I play\Nin this great theater of life?
Dialogue: 0,0:15:01.62,0:15:03.29,Default,,0000,0000,0000,,Thank you.
Dialogue: 0,0:15:03.29,0:15:06.36,Default,,0000,0000,0000,,(Applause)
Dialogue: 0,0:15:06.36,0:15:09.40,Default,,0000,0000,0000,,Bruno Giussani: Elizabeth Lev, thank you.
Dialogue: 0,0:15:09.40,0:15:13.09,Default,,0000,0000,0000,,Elizabeth, you mentioned\Nthis whole issue of pornography,
Dialogue: 0,0:15:13.09,0:15:17.62,Default,,0000,0000,0000,,too many nudes and too many\Ndaily life scenes and improper things
Dialogue: 0,0:15:17.62,0:15:20.13,Default,,0000,0000,0000,,in the eyes of the time.
Dialogue: 0,0:15:20.13,0:15:21.94,Default,,0000,0000,0000,,But actually the story is bigger.
Dialogue: 0,0:15:21.94,0:15:24.79,Default,,0000,0000,0000,,It's not just touching up\Nand covering up some of the figures.
Dialogue: 0,0:15:24.79,0:15:27.77,Default,,0000,0000,0000,,This work of art was almost\Ndestroyed because of that.
Dialogue: 0,0:15:27.77,0:15:31.50,Default,,0000,0000,0000,,Elizabeth Lev: The effect\Nof the Last Judgment was enormous.
Dialogue: 0,0:15:31.50,0:15:34.41,Default,,0000,0000,0000,,The printing press made sure\Nthat everybody saw it,
Dialogue: 0,0:15:34.41,0:15:36.89,Default,,0000,0000,0000,,and so this wasn't something\Nthat happened within a couple of weeks.
Dialogue: 0,0:15:36.89,0:15:42.12,Default,,0000,0000,0000,,It was something that happened\Nover the space of 20 years
Dialogue: 0,0:15:42.12,0:15:44.09,Default,,0000,0000,0000,,of editorials and complaints,
Dialogue: 0,0:15:44.09,0:15:45.25,Default,,0000,0000,0000,,saying to the Church,
Dialogue: 0,0:15:45.25,0:15:47.83,Default,,0000,0000,0000,,"You can't possibly tell us\Nhow to live our lives.
Dialogue: 0,0:15:47.83,0:15:51.31,Default,,0000,0000,0000,,Did you notice you have\Npornography in the Pope's chapel?"
Dialogue: 0,0:15:51.31,0:15:53.70,Default,,0000,0000,0000,,And so after complaints and insistence
Dialogue: 0,0:15:53.70,0:15:56.53,Default,,0000,0000,0000,,of trying to get this work destroyed,
Dialogue: 0,0:15:56.53,0:15:58.74,Default,,0000,0000,0000,,it was finally the year\Nthat Michelangelo died
Dialogue: 0,0:15:58.74,0:16:00.67,Default,,0000,0000,0000,,that the Church finally found\Na compromise,
Dialogue: 0,0:16:00.67,0:16:02.50,Default,,0000,0000,0000,,a way to save the painting,
Dialogue: 0,0:16:02.50,0:16:05.72,Default,,0000,0000,0000,,and that was in putting up\Nthese extra 30 covers,
Dialogue: 0,0:16:05.72,0:16:08.55,Default,,0000,0000,0000,,and that happens to be\Nthe origin of fig-leafing.
Dialogue: 0,0:16:08.55,0:16:10.27,Default,,0000,0000,0000,,That's where it all came about,
Dialogue: 0,0:16:10.27,0:16:12.85,Default,,0000,0000,0000,,and it came about from a church\Nthat was trying to save a work of art,
Dialogue: 0,0:16:12.85,0:16:16.96,Default,,0000,0000,0000,,not indeed deface or destroyed it.
Dialogue: 0,0:16:16.96,0:16:19.79,Default,,0000,0000,0000,,BG: This, what you just gave us,\Nis not the classic tour
Dialogue: 0,0:16:19.79,0:16:22.67,Default,,0000,0000,0000,,that people get today\Nwhen they go to the Sistine Chapel.
Dialogue: 0,0:16:22.67,0:16:24.39,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:16:24.39,0:16:26.73,Default,,0000,0000,0000,,EL: I don't know, is that an ad?
Dialogue: 0,0:16:26.73,0:16:31.40,Default,,0000,0000,0000,,BG: No, no, no, not necessarily,\Nit is a statement.
Dialogue: 0,0:16:31.40,0:16:35.76,Default,,0000,0000,0000,,It is, the experience of art today\Nis encountering problems.
Dialogue: 0,0:16:35.76,0:16:38.27,Default,,0000,0000,0000,,Too many people want to see this there,
Dialogue: 0,0:16:38.27,0:16:40.98,Default,,0000,0000,0000,,and the result is five million people\Ngoing through that tiny door
Dialogue: 0,0:16:40.98,0:16:43.19,Default,,0000,0000,0000,,and experiencing it\Nin a completely different way
Dialogue: 0,0:16:43.19,0:16:44.86,Default,,0000,0000,0000,,than we just did in the last 15 minutes.
Dialogue: 0,0:16:44.86,0:16:47.90,Default,,0000,0000,0000,,EL: Right. I agree. I think it's really nice\Nto be able to pause and look,
Dialogue: 0,0:16:47.90,0:16:50.68,Default,,0000,0000,0000,,but also realize,\Neven when you're in those days,
Dialogue: 0,0:16:50.68,0:16:52.78,Default,,0000,0000,0000,,with 20,000 people a day,
Dialogue: 0,0:16:52.78,0:16:55.35,Default,,0000,0000,0000,,even those days when you're in there\Nwith all those other people,
Dialogue: 0,0:16:55.35,0:16:58.28,Default,,0000,0000,0000,,look around you and think\Nhow amazing it is
Dialogue: 0,0:16:58.28,0:17:01.96,Default,,0000,0000,0000,,that some painted plaster\Nfrom 500 years ago
Dialogue: 0,0:17:01.96,0:17:05.09,Default,,0000,0000,0000,,can still draw all those people\Nstanding side by side with you
Dialogue: 0,0:17:05.09,0:17:07.09,Default,,0000,0000,0000,,looking upwards with their jaws dropped.
Dialogue: 0,0:17:07.09,0:17:09.83,Default,,0000,0000,0000,,It's a great statement about how beauty
Dialogue: 0,0:17:09.83,0:17:11.92,Default,,0000,0000,0000,,truly can speak to us all
Dialogue: 0,0:17:11.92,0:17:14.91,Default,,0000,0000,0000,,through time and through\Ngeographic space.
Dialogue: 0,0:17:14.91,0:17:17.58,Default,,0000,0000,0000,,BG: Liz, grazie.\NEL: Grazie a te.
Dialogue: 0,0:17:17.58,0:17:20.28,Default,,0000,0000,0000,,BG: Thank you.\N(Applause)