[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:05.58,0:00:08.04,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: We're in\NSaint Peter's Basilica standing
Dialogue: 0,0:00:08.04,0:00:09.54,Default,,0000,0000,0000,,in front of\NMichelangelo's Pieta.
Dialogue: 0,0:00:09.54,0:00:11.00,Default,,0000,0000,0000,,DR. BETH HARRIS:\NI feel very lucky,
Dialogue: 0,0:00:11.00,0:00:14.68,Default,,0000,0000,0000,,because on this rainy Monday\Nmorning, we're the only ones.
Dialogue: 0,0:00:14.68,0:00:17.16,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: And it\Nactually looks quite small--
Dialogue: 0,0:00:17.16,0:00:17.92,Default,,0000,0000,0000,,DR. BETH HARRIS: It does.
Dialogue: 0,0:00:17.92,0:00:19.97,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: In\Nrelationship to the chapel
Dialogue: 0,0:00:19.97,0:00:22.47,Default,,0000,0000,0000,,that holds it, but\Nalso especially
Dialogue: 0,0:00:22.47,0:00:24.70,Default,,0000,0000,0000,,in relationship to Saint\NPeter's, which is so vast.
Dialogue: 0,0:00:24.70,0:00:26.45,Default,,0000,0000,0000,,DR. BETH HARRIS: Of\Ncourse, this sculpture
Dialogue: 0,0:00:26.45,0:00:28.31,Default,,0000,0000,0000,,was made for a\Ncardinal, but then it
Dialogue: 0,0:00:28.31,0:00:30.64,Default,,0000,0000,0000,,was placed in the\Nold Saint Peter's,
Dialogue: 0,0:00:30.64,0:00:33.46,Default,,0000,0000,0000,,which was significantly\Nsmaller than this one.
Dialogue: 0,0:00:33.46,0:00:35.85,Default,,0000,0000,0000,,And so it would have had\Na different relationship
Dialogue: 0,0:00:35.85,0:00:36.68,Default,,0000,0000,0000,,to the architecture.
Dialogue: 0,0:00:36.68,0:00:38.64,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: What\NI'm finding interesting
Dialogue: 0,0:00:38.64,0:00:40.86,Default,,0000,0000,0000,,is despite the fact that\Nit's relatively small,
Dialogue: 0,0:00:40.86,0:00:43.13,Default,,0000,0000,0000,,and probably about\N20 feet away from us,
Dialogue: 0,0:00:43.13,0:00:45.61,Default,,0000,0000,0000,,it's still a really\Nintimate image.
Dialogue: 0,0:00:45.61,0:00:48.39,Default,,0000,0000,0000,,There really is this\Nextraordinary relationship
Dialogue: 0,0:00:48.39,0:00:50.75,Default,,0000,0000,0000,,that Michelangelo\Nhas constructed
Dialogue: 0,0:00:50.75,0:00:52.62,Default,,0000,0000,0000,,between the body\Nof the dead Christ
Dialogue: 0,0:00:52.62,0:00:56.04,Default,,0000,0000,0000,,and his mother, the Virgin\NMary, who holds him on her lap.
Dialogue: 0,0:00:56.04,0:00:58.86,Default,,0000,0000,0000,,DR. BETH HARRIS: Mary looks\Nvery young and beautiful,
Dialogue: 0,0:00:58.86,0:01:03.04,Default,,0000,0000,0000,,but her body is-- and her lap\Nis sort of enlarged to carry
Dialogue: 0,0:01:03.04,0:01:07.41,Default,,0000,0000,0000,,the body of her dead son, but\Nthe realization that dead body,
Dialogue: 0,0:01:07.41,0:01:08.26,Default,,0000,0000,0000,,of its weight--
Dialogue: 0,0:01:08.26,0:01:09.12,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: It's weight.
Dialogue: 0,0:01:09.12,0:01:11.66,Default,,0000,0000,0000,,DR. BETH HARRIS: One of the most\Nbeautiful passages, I think,
Dialogue: 0,0:01:11.66,0:01:15.32,Default,,0000,0000,0000,,of the sculpture is the way\Nthat she holds up his right arm,
Dialogue: 0,0:01:15.32,0:01:17.86,Default,,0000,0000,0000,,and pulls up that\Nflesh a little bit.
Dialogue: 0,0:01:17.86,0:01:19.78,Default,,0000,0000,0000,,And you really\Nfeel first of all,
Dialogue: 0,0:01:19.78,0:01:23.54,Default,,0000,0000,0000,,that the marble is transformed\Nby Michelangelo into flesh,
Dialogue: 0,0:01:23.54,0:01:27.07,Default,,0000,0000,0000,,but also the weight of that\Nbody, and through that weight,
Dialogue: 0,0:01:27.07,0:01:30.12,Default,,0000,0000,0000,,the loss of life that's\Nso palpable for Mary.
Dialogue: 0,0:01:30.12,0:01:31.83,Default,,0000,0000,0000,,DR. STEVEN ZUCKER:\NIt's the complete lack
Dialogue: 0,0:01:31.83,0:01:33.72,Default,,0000,0000,0000,,of resistance that\Nhis body offers
Dialogue: 0,0:01:33.72,0:01:37.68,Default,,0000,0000,0000,,and the exertion that she has\Nto extend in order to hold him.
Dialogue: 0,0:01:37.68,0:01:39.54,Default,,0000,0000,0000,,And that contrast\Nmakes for the viewer,
Dialogue: 0,0:01:39.54,0:01:41.47,Default,,0000,0000,0000,,I think, a very\Nphysical experience
Dialogue: 0,0:01:41.47,0:01:42.100,Default,,0000,0000,0000,,looking at the sculpture.
Dialogue: 0,0:01:42.100,0:01:44.62,Default,,0000,0000,0000,,DR. BETH HARRIS: His\Nbody looks so much
Dialogue: 0,0:01:44.62,0:01:48.29,Default,,0000,0000,0000,,like the body of a real,\Nyoung man, the ribcage
Dialogue: 0,0:01:48.29,0:01:49.72,Default,,0000,0000,0000,,and the abdominal muscles.
Dialogue: 0,0:01:49.72,0:01:51.22,Default,,0000,0000,0000,,DR. STEVEN ZUCKER:\NAnd yet it's also
Dialogue: 0,0:01:51.22,0:01:53.54,Default,,0000,0000,0000,,idealized in the\Nway in which there's
Dialogue: 0,0:01:53.54,0:01:56.28,Default,,0000,0000,0000,,this beautiful turn of\Nhis body across her lap.
Dialogue: 0,0:01:56.28,0:01:59.41,Default,,0000,0000,0000,,And for Mary as well, there's\Nthis interesting contradiction
Dialogue: 0,0:01:59.41,0:02:01.10,Default,,0000,0000,0000,,in her sweetness,\Nand the beauty,
Dialogue: 0,0:02:01.10,0:02:05.08,Default,,0000,0000,0000,,but also the strength and the\Nscale that's necessary for her
Dialogue: 0,0:02:05.08,0:02:06.74,Default,,0000,0000,0000,,to easily hold him.
Dialogue: 0,0:02:06.74,0:02:08.58,Default,,0000,0000,0000,,Look at how deeply\Ncarved that marble is.
Dialogue: 0,0:02:08.58,0:02:09.79,Default,,0000,0000,0000,,DR. BETH HARRIS: The drapery.
Dialogue: 0,0:02:09.79,0:02:11.16,Default,,0000,0000,0000,,DR. STEVEN ZUCKER:\NThis real love
Dialogue: 0,0:02:11.16,0:02:15.31,Default,,0000,0000,0000,,of the turn of the stone, that's\Ncreating this very vivid sense
Dialogue: 0,0:02:15.31,0:02:18.03,Default,,0000,0000,0000,,of alternation, really,\Nof light and shadow,
Dialogue: 0,0:02:18.03,0:02:20.33,Default,,0000,0000,0000,,the complexity of\Nsurface against
Dialogue: 0,0:02:20.33,0:02:24.10,Default,,0000,0000,0000,,the broad, pure surfaces of\NChrist's legs, of his torso,
Dialogue: 0,0:02:24.10,0:02:25.11,Default,,0000,0000,0000,,of his arm.
Dialogue: 0,0:02:25.11,0:02:28.02,Default,,0000,0000,0000,,DR. BETH HARRIS: Mary tilts her\Nhead forward, and looks down
Dialogue: 0,0:02:28.02,0:02:28.87,Default,,0000,0000,0000,,at him.
Dialogue: 0,0:02:28.87,0:02:31.38,Default,,0000,0000,0000,,His head is thrown\Nback, so there's
Dialogue: 0,0:02:31.38,0:02:34.93,Default,,0000,0000,0000,,[INAUDIBLE] between\Nthose two necks for me.
Dialogue: 0,0:02:34.93,0:02:37.16,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: And\Nhis neck is exposed to us,
Dialogue: 0,0:02:37.16,0:02:38.65,Default,,0000,0000,0000,,incredibly vulnerable.
Dialogue: 0,0:02:38.65,0:02:41.20,Default,,0000,0000,0000,,Christ's foot hangs in midair.
Dialogue: 0,0:02:41.20,0:02:45.86,Default,,0000,0000,0000,,Mary, her left hand is open and\Npointing delicately forward,
Dialogue: 0,0:02:45.86,0:02:47.90,Default,,0000,0000,0000,,as if she still trying\Nto comprehend his death.
Dialogue: 0,0:02:47.90,0:02:49.61,Default,,0000,0000,0000,,DR. BETH HARRIS: But\NI think there's also
Dialogue: 0,0:02:49.61,0:02:53.39,Default,,0000,0000,0000,,a way of presenting Christ's\Nbody to the viewers,
Dialogue: 0,0:02:53.39,0:02:56.11,Default,,0000,0000,0000,,saying this is the\Npath to salvation.
Dialogue: 0,0:02:56.11,0:03:00.70,Default,,0000,0000,0000,,This is God's sacrifice for\Nmankind, my sacrifice of my son
Dialogue: 0,0:03:00.70,0:03:03.63,Default,,0000,0000,0000,,that makes possible\Nyour redemption.
Dialogue: 0,0:03:03.63,0:03:05.46,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: There\Nis a kind of rhythm
Dialogue: 0,0:03:05.46,0:03:07.00,Default,,0000,0000,0000,,that points to that hand.
Dialogue: 0,0:03:07.00,0:03:09.89,Default,,0000,0000,0000,,The drape and the knee point\Nup towards Christ's knees,
Dialogue: 0,0:03:09.89,0:03:13.11,Default,,0000,0000,0000,,which in turn create a kind of\Nrhythmic bridge to her hand,
Dialogue: 0,0:03:13.11,0:03:14.77,Default,,0000,0000,0000,,and to that sense of wondering.
Dialogue: 0,0:03:14.77,0:03:17.17,Default,,0000,0000,0000,,This is very clearly\Nan image that's
Dialogue: 0,0:03:17.17,0:03:18.30,Default,,0000,0000,0000,,meant to be contemplated.
Dialogue: 0,0:03:18.30,0:03:21.36,Default,,0000,0000,0000,,And the pain and the suffering\Nthat Christ has endured that--
Dialogue: 0,0:03:21.36,0:03:22.90,Default,,0000,0000,0000,,DR. BETH HARRIS:\NAnd Mary's enduring.
Dialogue: 0,0:03:22.90,0:03:24.69,Default,,0000,0000,0000,,DR. STEVEN ZUCKER: That\NMary is enduring is
Dialogue: 0,0:03:24.69,0:03:26.28,Default,,0000,0000,0000,,meant to be contemplated\Nas a pathway.
Dialogue: 0,0:03:26.28,0:03:28.21,Default,,0000,0000,0000,,DR. BETH HARRIS: They're\Npolishing the floor.
Dialogue: 0,0:03:28.21,0:03:30.40,Default,,0000,0000,0000,,DR. STEVEN ZUCKER:\NOK, let's move on.