[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.15,0:00:04.25,Default,,0000,0000,0000,,All right, so more audience participation,\Nbut I'm not going to make you stand up:
Dialogue: 0,0:00:04.25,0:00:06.78,Default,,0000,0000,0000,,How many of you have been to Pompeii?
Dialogue: 0,0:00:06.78,0:00:08.50,Default,,0000,0000,0000,,Raise your hands.
Dialogue: 0,0:00:09.33,0:00:12.74,Default,,0000,0000,0000,,So, maybe about a quarter of you, right?
Dialogue: 0,0:00:13.50,0:00:15.87,Default,,0000,0000,0000,,But you all know the story, don't you?
Dialogue: 0,0:00:17.60,0:00:22.07,Default,,0000,0000,0000,,1,933 years ago tomorrow,
Dialogue: 0,0:00:22.07,0:00:23.28,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:00:23.28,0:00:24.28,Default,,0000,0000,0000,,yeah,
Dialogue: 0,0:00:24.28,0:00:27.89,Default,,0000,0000,0000,,August 24, AD 79,
Dialogue: 0,0:00:28.20,0:00:34.31,Default,,0000,0000,0000,,Mount Vesuvius on the Bay of Naples\Nin central Italy suddenly erupted
Dialogue: 0,0:00:34.77,0:00:38.14,Default,,0000,0000,0000,,and buried not only the city of Pompeii
Dialogue: 0,0:00:38.14,0:00:42.14,Default,,0000,0000,0000,,but Herculaneum, Stabiae\Nand the whole region
Dialogue: 0,0:00:42.14,0:00:48.63,Default,,0000,0000,0000,,under tons of ash, gas,\Nmud and volcanic debris,
Dialogue: 0,0:00:49.50,0:00:51.91,Default,,0000,0000,0000,,totally obliterating them.
Dialogue: 0,0:00:53.05,0:00:57.49,Default,,0000,0000,0000,,Now, we know a lot about this disaster
Dialogue: 0,0:00:57.49,0:01:01.19,Default,,0000,0000,0000,,that's really become\Npart of our own civilization.
Dialogue: 0,0:01:01.19,0:01:05.42,Default,,0000,0000,0000,,We know a lot about it\Nbecause a young man named Pliny
Dialogue: 0,0:01:06.38,0:01:08.96,Default,,0000,0000,0000,,was on the northern edge\Nof the Bay of Naples
Dialogue: 0,0:01:08.96,0:01:11.07,Default,,0000,0000,0000,,and witnessed the eruption,
Dialogue: 0,0:01:11.47,0:01:15.20,Default,,0000,0000,0000,,and he wrote an account of that event.
Dialogue: 0,0:01:15.20,0:01:19.35,Default,,0000,0000,0000,,And central to his story\Nwas the story of his uncle,
Dialogue: 0,0:01:19.72,0:01:22.57,Default,,0000,0000,0000,,conveniently also named Pliny,
Dialogue: 0,0:01:23.30,0:01:26.01,Default,,0000,0000,0000,,who was the admiral of the Roman fleet,
Dialogue: 0,0:01:26.47,0:01:30.29,Default,,0000,0000,0000,,and he was really interested\Nin natural history, the elder Pliny,
Dialogue: 0,0:01:30.29,0:01:35.08,Default,,0000,0000,0000,,and he was setting out to observe,\Nat closer range, the volcano,
Dialogue: 0,0:01:35.08,0:01:38.16,Default,,0000,0000,0000,,when he got messages\Nthat people needed rescuing.
Dialogue: 0,0:01:38.16,0:01:44.46,Default,,0000,0000,0000,,So what began as a scientific expedition\Nended up as a heroic rescue mission.
Dialogue: 0,0:01:44.88,0:01:50.42,Default,,0000,0000,0000,,And Pliny the Elder sailed south\Ninto the volcanic cloud
Dialogue: 0,0:01:50.42,0:01:53.40,Default,,0000,0000,0000,,and eventually died there.
Dialogue: 0,0:01:53.90,0:01:57.71,Default,,0000,0000,0000,,And that's what we see\Nin this painting by Jacob More -
Dialogue: 0,0:01:57.71,0:01:59.74,Default,,0000,0000,0000,,now in the National Gallery of Scotland -
Dialogue: 0,0:01:59.74,0:02:02.30,Default,,0000,0000,0000,,we see Vesuvius erupting,
Dialogue: 0,0:02:02.30,0:02:04.67,Default,,0000,0000,0000,,the lava flowing down the hill,
Dialogue: 0,0:02:04.67,0:02:06.37,Default,,0000,0000,0000,,and in the foreground,
Dialogue: 0,0:02:06.37,0:02:10.51,Default,,0000,0000,0000,,the elder Pliny succumbing, falling,
Dialogue: 0,0:02:10.51,0:02:13.79,Default,,0000,0000,0000,,collapsing in the arms\Nof two of his slaves
Dialogue: 0,0:02:13.79,0:02:17.35,Default,,0000,0000,0000,,while other refugees are moving off.
Dialogue: 0,0:02:17.92,0:02:22.00,Default,,0000,0000,0000,,So we have this eyewitness account
Dialogue: 0,0:02:22.00,0:02:25.40,Default,,0000,0000,0000,,that makes it really vivid\Nexactly what happened there,
Dialogue: 0,0:02:25.40,0:02:26.58,Default,,0000,0000,0000,,and, of course,
Dialogue: 0,0:02:26.58,0:02:30.100,Default,,0000,0000,0000,,from the early 18th century,\Nwe have actual remains
Dialogue: 0,0:02:30.100,0:02:36.66,Default,,0000,0000,0000,,because well diggers discovered Pompeii\Nand the other Vesuvian cities.
Dialogue: 0,0:02:36.66,0:02:41.71,Default,,0000,0000,0000,,And unlike other ancient sites,\Nlike Rome or Athens or Jerusalem,
Dialogue: 0,0:02:41.71,0:02:46.06,Default,,0000,0000,0000,,that have been overbuilt for years\Nand years and years, centuries, millennia,
Dialogue: 0,0:02:46.06,0:02:51.85,Default,,0000,0000,0000,,Pompeii was buried, \Nsealed by the volcano and all that ash,
Dialogue: 0,0:02:51.85,0:02:55.18,Default,,0000,0000,0000,,like - we seem to think,\Nwe hear over and over again -
Dialogue: 0,0:02:55.18,0:02:57.20,Default,,0000,0000,0000,,a time capsule, frozen.
Dialogue: 0,0:02:57.20,0:03:01.32,Default,,0000,0000,0000,,And we find there not only cooking pots\Nand houses and buildings -
Dialogue: 0,0:03:01.32,0:03:03.93,Default,,0000,0000,0000,,things that we find in Rome\Nand Athens and Jerusalem -
Dialogue: 0,0:03:03.93,0:03:06.38,Default,,0000,0000,0000,,but actual perishable materials:
Dialogue: 0,0:03:06.38,0:03:11.40,Default,,0000,0000,0000,,eggs, carbonized bread loaves,\Nfood stuffs, medical instruments -
Dialogue: 0,0:03:11.40,0:03:13.90,Default,,0000,0000,0000,,the daily life of antiquity.
Dialogue: 0,0:03:13.90,0:03:17.52,Default,,0000,0000,0000,,We can experience it directly\Nwhen we go to Pompeii,
Dialogue: 0,0:03:17.52,0:03:20.12,Default,,0000,0000,0000,,have this unmediated experience
Dialogue: 0,0:03:20.12,0:03:22.82,Default,,0000,0000,0000,,of what life was like\Nin the ancient world,
Dialogue: 0,0:03:22.82,0:03:24.96,Default,,0000,0000,0000,,and we have the whole city here,
Dialogue: 0,0:03:24.96,0:03:29.35,Default,,0000,0000,0000,,spread out before, now, the ruined,\Ncollapsed cone of the volcano
Dialogue: 0,0:03:29.35,0:03:31.10,Default,,0000,0000,0000,,that was so much larger.
Dialogue: 0,0:03:31.10,0:03:35.85,Default,,0000,0000,0000,,We have the city plan, we have paintings,\Nwe have houses, we have sculptures.
Dialogue: 0,0:03:36.39,0:03:38.98,Default,,0000,0000,0000,,Now, I'm trained\Nas a classical archaeologist,
Dialogue: 0,0:03:38.98,0:03:42.79,Default,,0000,0000,0000,,which means I have to go\Nto the Mediterranean to do my work
Dialogue: 0,0:03:42.79,0:03:44.35,Default,,0000,0000,0000,,and go to the Greek islands,
Dialogue: 0,0:03:44.35,0:03:46.62,Default,,0000,0000,0000,,and it's really tough and yeah, yeah -
Dialogue: 0,0:03:46.62,0:03:47.80,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:03:47.80,0:03:49.54,Default,,0000,0000,0000,,That's the way it is.
Dialogue: 0,0:03:49.54,0:03:53.83,Default,,0000,0000,0000,,And like all of my colleagues,\NI've studied Pompeii,
Dialogue: 0,0:03:53.83,0:03:57.17,Default,,0000,0000,0000,,but I never really worked on it\Nuntil a few years ago
Dialogue: 0,0:03:57.17,0:03:59.91,Default,,0000,0000,0000,,when I was asked\Nto collaborate with LACMA
Dialogue: 0,0:03:59.91,0:04:01.51,Default,,0000,0000,0000,,when they had their exhibition
Dialogue: 0,0:04:01.51,0:04:02.92,Default,,0000,0000,0000,,"Pompeii and the Roman Villa:
Dialogue: 0,0:04:02.92,0:04:05.21,Default,,0000,0000,0000,,Art and Culture\N[around] the Bay of Naples."
Dialogue: 0,0:04:05.21,0:04:07.28,Default,,0000,0000,0000,,Did any of you see that show?
Dialogue: 0,0:04:07.28,0:04:08.38,Default,,0000,0000,0000,,A few of you saw it.
Dialogue: 0,0:04:08.38,0:04:11.57,Default,,0000,0000,0000,,And my job, really,\Nwas to translate this exhibition -
Dialogue: 0,0:04:11.57,0:04:14.33,Default,,0000,0000,0000,,which opened at the\NNational Gallery in Washington -
Dialogue: 0,0:04:14.33,0:04:15.62,Default,,0000,0000,0000,,to LACMA's space,
Dialogue: 0,0:04:15.62,0:04:17.71,Default,,0000,0000,0000,,and working with the designers there,
Dialogue: 0,0:04:17.71,0:04:20.29,Default,,0000,0000,0000,,especially Victoria Behner,\Nwho is wonderful,
Dialogue: 0,0:04:20.29,0:04:24.12,Default,,0000,0000,0000,,we made this show look\Nreally beautiful in LACMA's space.
Dialogue: 0,0:04:24.12,0:04:26.92,Default,,0000,0000,0000,,And it was all about art and culture,
Dialogue: 0,0:04:26.92,0:04:30.25,Default,,0000,0000,0000,,although most of this stuff\Nwasn't about art.
Dialogue: 0,0:04:30.25,0:04:33.37,Default,,0000,0000,0000,,As an archaeologist,\NI deal with old and broken stuff.
Dialogue: 0,0:04:33.37,0:04:36.52,Default,,0000,0000,0000,,Some of it's very beautiful,\Nbut it wasn't created as art;
Dialogue: 0,0:04:36.52,0:04:40.74,Default,,0000,0000,0000,,it was created to decorate houses\Nor to commemorate important people.
Dialogue: 0,0:04:40.74,0:04:44.39,Default,,0000,0000,0000,,But we did a nice job at LACMA,\Nand I was very happy with it,
Dialogue: 0,0:04:44.39,0:04:45.63,Default,,0000,0000,0000,,although I have to admit,
Dialogue: 0,0:04:45.63,0:04:49.52,Default,,0000,0000,0000,,I wasn't responsible for its placement\Nin the Art of the Americas building.
Dialogue: 0,0:04:49.52,0:04:50.85,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:04:50.85,0:04:53.23,Default,,0000,0000,0000,,That was LACMA's choice,
Dialogue: 0,0:04:53.67,0:04:57.79,Default,,0000,0000,0000,,and I don't know what they did\Nto a whole generation of schoolchildren
Dialogue: 0,0:04:57.79,0:05:01.37,Default,,0000,0000,0000,,who now are going to think\NPompeii's somewhere in South America.
Dialogue: 0,0:05:01.37,0:05:02.51,Default,,0000,0000,0000,,I don't know.
Dialogue: 0,0:05:02.51,0:05:03.87,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:05:04.38,0:05:08.39,Default,,0000,0000,0000,,I was very happy with the exhibition,\Nbut it was in many ways traditional
Dialogue: 0,0:05:08.39,0:05:10.21,Default,,0000,0000,0000,,because it perpetuated
Dialogue: 0,0:05:10.21,0:05:13.90,Default,,0000,0000,0000,,what I've come to think of\Nas the myth of Pompeii,
Dialogue: 0,0:05:13.90,0:05:16.98,Default,,0000,0000,0000,,that we can go and recover the past,
Dialogue: 0,0:05:16.98,0:05:19.29,Default,,0000,0000,0000,,and the ruins and the finds
Dialogue: 0,0:05:19.29,0:05:23.25,Default,,0000,0000,0000,,give us insight directly\Ninto the lives of ancient people.
Dialogue: 0,0:05:23.25,0:05:26.02,Default,,0000,0000,0000,,And, of course, as an archaeologist,\Nthat's what I live by,
Dialogue: 0,0:05:26.02,0:05:27.74,Default,,0000,0000,0000,,that is to some degree true.
Dialogue: 0,0:05:27.74,0:05:31.92,Default,,0000,0000,0000,,But at the end of the LACMA show,\Nlike so many exhibitions,
Dialogue: 0,0:05:31.92,0:05:33.68,Default,,0000,0000,0000,,as a coda, as an add-on,
Dialogue: 0,0:05:33.68,0:05:36.38,Default,,0000,0000,0000,,there was a little section\Non the afterlife of Pompeii,
Dialogue: 0,0:05:36.38,0:05:38.63,Default,,0000,0000,0000,,and there were more\Nof these volcano paintings.
Dialogue: 0,0:05:38.63,0:05:40.46,Default,,0000,0000,0000,,This is another one, by Valenciennes,
Dialogue: 0,0:05:40.46,0:05:42.28,Default,,0000,0000,0000,,from the museum in Toulouse, France,
Dialogue: 0,0:05:42.28,0:05:45.17,Default,,0000,0000,0000,,and it's similar to the one by Jacob More:
Dialogue: 0,0:05:45.17,0:05:47.92,Default,,0000,0000,0000,,the volcano is exploding,\Nthe sea is roiling,
Dialogue: 0,0:05:47.92,0:05:50.66,Default,,0000,0000,0000,,and Pliny the Elder\Nis collapsing in the foreground
Dialogue: 0,0:05:50.66,0:05:56.19,Default,,0000,0000,0000,,as per the letter his nephew wrote\Nto the historian Tacitus.
Dialogue: 0,0:05:56.19,0:05:59.62,Default,,0000,0000,0000,,And you've got more architecture\Ncollapsing in front.
Dialogue: 0,0:06:00.16,0:06:02.85,Default,,0000,0000,0000,,Now, what's important here
Dialogue: 0,0:06:02.85,0:06:06.95,Default,,0000,0000,0000,,is that when Jacob More\Npainted in the 1780s
Dialogue: 0,0:06:06.95,0:06:11.35,Default,,0000,0000,0000,,and Valenciennes\Npainted this 40 years later,
Dialogue: 0,0:06:11.35,0:06:14.11,Default,,0000,0000,0000,,they weren't eyewitnesses\Nlike Pliny the Younger
Dialogue: 0,0:06:14.11,0:06:15.54,Default,,0000,0000,0000,,to the ancient eruption,
Dialogue: 0,0:06:15.54,0:06:17.98,Default,,0000,0000,0000,,but Vesuvius was erupting again;
Dialogue: 0,0:06:17.98,0:06:20.82,Default,,0000,0000,0000,,it was continually erupting\Nuntil about 1944,
Dialogue: 0,0:06:20.82,0:06:22.39,Default,,0000,0000,0000,,which was the last eruption.
Dialogue: 0,0:06:22.39,0:06:26.98,Default,,0000,0000,0000,,And what these painters did\Nis they took contemporary eruptions,
Dialogue: 0,0:06:26.98,0:06:28.76,Default,,0000,0000,0000,,which they witnessed and painted -
Dialogue: 0,0:06:28.76,0:06:30.81,Default,,0000,0000,0000,,here's one by [Joseph Wright] -
Dialogue: 0,0:06:30.81,0:06:33.68,Default,,0000,0000,0000,,and they superimposed the ancient past.
Dialogue: 0,0:06:33.68,0:06:35.69,Default,,0000,0000,0000,,You'll notice it looks very much the same,
Dialogue: 0,0:06:35.69,0:06:38.27,Default,,0000,0000,0000,,except the sea is calm\Nbecause it's a smaller eruption
Dialogue: 0,0:06:38.27,0:06:39.53,Default,,0000,0000,0000,,and there's a lot of lava.
Dialogue: 0,0:06:39.53,0:06:42.69,Default,,0000,0000,0000,,There was more lava in the modern\Neruptions than the ancient one
Dialogue: 0,0:06:42.69,0:06:44.52,Default,,0000,0000,0000,,because the ancient one was explosive,
Dialogue: 0,0:06:44.52,0:06:47.65,Default,,0000,0000,0000,,and that's why all that ash\Ncame down and buried everything.
Dialogue: 0,0:06:47.65,0:06:48.85,Default,,0000,0000,0000,,If there had been lava,
Dialogue: 0,0:06:48.85,0:06:51.95,Default,,0000,0000,0000,,it would have burnt everything\Nand we wouldn't have anything left.
Dialogue: 0,0:06:51.95,0:06:56.72,Default,,0000,0000,0000,,But this is Volaire,\Nwhich looks like Valenciennes.
Dialogue: 0,0:06:56.72,0:06:59.92,Default,,0000,0000,0000,,This is by Joseph Wright,
Dialogue: 0,0:06:59.92,0:07:02.97,Default,,0000,0000,0000,,and you see, it's painted\Nabout the same time as Jacob More -
Dialogue: 0,0:07:02.97,0:07:04.52,Default,,0000,0000,0000,,here's Jacob More's painting.
Dialogue: 0,0:07:04.52,0:07:07.48,Default,,0000,0000,0000,,He just added some guys in togas\Nin the foreground
Dialogue: 0,0:07:07.48,0:07:09.100,Default,,0000,0000,0000,,and some ancient ruins in the background,
Dialogue: 0,0:07:09.100,0:07:11.48,Default,,0000,0000,0000,,and you get antiquity.
Dialogue: 0,0:07:11.48,0:07:12.49,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:07:12.49,0:07:18.26,Default,,0000,0000,0000,,And I came to realize that so much\Nof what we think about Pompeii today,
Dialogue: 0,0:07:18.26,0:07:21.74,Default,,0000,0000,0000,,where we think we're having\Nthis direct connection to the past
Dialogue: 0,0:07:21.74,0:07:24.19,Default,,0000,0000,0000,,when we go and we can experience the past,
Dialogue: 0,0:07:24.19,0:07:30.22,Default,,0000,0000,0000,,it's not as much a window to the past\Nas it's a mirror of the present:
Dialogue: 0,0:07:30.22,0:07:35.18,Default,,0000,0000,0000,,We're superimposing what we expect,\Nwhat we know and what we see
Dialogue: 0,0:07:35.18,0:07:37.22,Default,,0000,0000,0000,,onto the past.
Dialogue: 0,0:07:38.30,0:07:41.54,Default,,0000,0000,0000,,Andy Warhol never saw Vesuvius erupt,
Dialogue: 0,0:07:42.11,0:07:45.84,Default,,0000,0000,0000,,but he did a whole series\Nof Vesuvius in 1985,
Dialogue: 0,0:07:46.38,0:07:50.28,Default,,0000,0000,0000,,when the AIDS crisis\Nwas ravaging his community,
Dialogue: 0,0:07:50.28,0:07:55.97,Default,,0000,0000,0000,,to symbolize the catastrophe,\Nthe apocalypse, that was happening.
Dialogue: 0,0:07:55.97,0:07:59.61,Default,,0000,0000,0000,,And Pompeii has become\Na kind of ground zero for us,
Dialogue: 0,0:07:59.61,0:08:03.39,Default,,0000,0000,0000,,the type site for any disaster,
Dialogue: 0,0:08:03.80,0:08:06.74,Default,,0000,0000,0000,,whether it's the Lisbon\Nearthquake of 1755,
Dialogue: 0,0:08:06.74,0:08:10.05,Default,,0000,0000,0000,,the San Francisco earthquake of 1906,
Dialogue: 0,0:08:11.22,0:08:16.18,Default,,0000,0000,0000,,whether it's Katrina or Haiti\Nor the Fukushima earthquake,
Dialogue: 0,0:08:16.18,0:08:18.30,Default,,0000,0000,0000,,all those natural disasters,
Dialogue: 0,0:08:18.30,0:08:20.06,Default,,0000,0000,0000,,or man-made ones -
Dialogue: 0,0:08:20.06,0:08:24.82,Default,,0000,0000,0000,,the Civil War, Hiroshima, Nagasaki, 9-11 -
Dialogue: 0,0:08:24.82,0:08:28.09,Default,,0000,0000,0000,,Pompeii is always invoked,
Dialogue: 0,0:08:28.09,0:08:29.10,Default,,0000,0000,0000,,and it's invoked
Dialogue: 0,0:08:29.10,0:08:35.41,Default,,0000,0000,0000,,because it's become for us\Nthe foundational disaster of all time.
Dialogue: 0,0:08:36.90,0:08:38.25,Default,,0000,0000,0000,,And that it was,
Dialogue: 0,0:08:38.25,0:08:43.65,Default,,0000,0000,0000,,but again, the idea that we\Ncan really experience this
Dialogue: 0,0:08:43.65,0:08:46.97,Default,,0000,0000,0000,,is what I think of as the myth of Pompeii.
Dialogue: 0,0:08:46.97,0:08:53.46,Default,,0000,0000,0000,,And this has been promulgated most greatly\Nafter Valenciennes and after Jacob More
Dialogue: 0,0:08:53.46,0:08:55.75,Default,,0000,0000,0000,,by Edward Bulwer-Lytton,
Dialogue: 0,0:08:55.75,0:08:58.56,Default,,0000,0000,0000,,the guy who did "The Dark\Nand Stormy Night" novel.
Dialogue: 0,0:08:58.56,0:09:01.01,Default,,0000,0000,0000,,He did another novel\Nthat was much more famous,
Dialogue: 0,0:09:01.01,0:09:03.11,Default,,0000,0000,0000,,"The Last Days of Pompeii."
Dialogue: 0,0:09:03.11,0:09:05.52,Default,,0000,0000,0000,,Published first in 1834,
Dialogue: 0,0:09:05.52,0:09:08.40,Default,,0000,0000,0000,,this was the bestseller\Nof the 19th century.
Dialogue: 0,0:09:08.40,0:09:13.72,Default,,0000,0000,0000,,It was The Da Vinci Code,\Nthe Twilight series, Harry Potter
Dialogue: 0,0:09:13.72,0:09:17.36,Default,,0000,0000,0000,,all rolled into one, right?
Dialogue: 0,0:09:17.36,0:09:22.55,Default,,0000,0000,0000,,And it came to inspire\Ntheatrical plays, operas,
Dialogue: 0,0:09:23.64,0:09:25.96,Default,,0000,0000,0000,,pyrodrama re-creations
Dialogue: 0,0:09:25.96,0:09:27.62,Default,,0000,0000,0000,,as well as, eventually, films.
Dialogue: 0,0:09:27.62,0:09:32.17,Default,,0000,0000,0000,,It revolves around\Ntwo interlocking love triangles,
Dialogue: 0,0:09:32.17,0:09:37.33,Default,,0000,0000,0000,,people really intersecting\Nwith each other in intrigue
Dialogue: 0,0:09:37.33,0:09:39.27,Default,,0000,0000,0000,,just before the eruption of Vesuvius,
Dialogue: 0,0:09:39.27,0:09:41.49,Default,,0000,0000,0000,,which, of course,\Nis the climax of the novel
Dialogue: 0,0:09:41.49,0:09:45.44,Default,,0000,0000,0000,,when the poor, blind\Nflower girl, Nydia, is able -
Dialogue: 0,0:09:45.44,0:09:47.67,Default,,0000,0000,0000,,as you see on the right hand slide -
Dialogue: 0,0:09:47.67,0:09:49.69,Default,,0000,0000,0000,,to lead her people out
Dialogue: 0,0:09:49.69,0:09:53.03,Default,,0000,0000,0000,,because she alone can see\Nor find her way in the dark
Dialogue: 0,0:09:53.03,0:09:55.05,Default,,0000,0000,0000,,because she knows\Nthe city in its darkness.
Dialogue: 0,0:09:55.05,0:09:57.100,Default,,0000,0000,0000,,And it's this title,\N"The Last Days of Pompeii,"
Dialogue: 0,0:09:57.100,0:10:00.78,Default,,0000,0000,0000,,that we've taken as the title\Nfor an exhibition
Dialogue: 0,0:10:00.78,0:10:03.85,Default,,0000,0000,0000,,that will open in two weeks\Nin the Getty Villa,
Dialogue: 0,0:10:03.85,0:10:06.42,Default,,0000,0000,0000,,but we've added the subtitle
Dialogue: 0,0:10:06.42,0:10:09.94,Default,,0000,0000,0000,,"Decadence, Apocalypse and Resurrection."
Dialogue: 0,0:10:09.94,0:10:10.96,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:10:10.96,0:10:13.87,Default,,0000,0000,0000,,Not just because these are great words\Nthat are very exciting,
Dialogue: 0,0:10:13.87,0:10:15.34,Default,,0000,0000,0000,,but they are -
Dialogue: 0,0:10:15.34,0:10:18.04,Default,,0000,0000,0000,,we didn't focus group this,\Nbut we thought hard -
Dialogue: 0,0:10:18.04,0:10:19.39,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:10:19.39,0:10:24.19,Default,,0000,0000,0000,,because we bring these ideas\Nto the ancient city.
Dialogue: 0,0:10:24.19,0:10:26.14,Default,,0000,0000,0000,,Why was Pompeii destroyed?
Dialogue: 0,0:10:26.14,0:10:28.69,Default,,0000,0000,0000,,Not just because a volcano\Nhappened to erupt
Dialogue: 0,0:10:28.69,0:10:31.62,Default,,0000,0000,0000,,but because they were decadent\Nand they deserved it.
Dialogue: 0,0:10:31.62,0:10:34.96,Default,,0000,0000,0000,,Was that because they didn't\Naccept early Christianity?
Dialogue: 0,0:10:34.96,0:10:36.88,Default,,0000,0000,0000,,Pat Robertson would have you believe so:
Dialogue: 0,0:10:36.88,0:10:38.48,Default,,0000,0000,0000,,he said that about Haiti,
Dialogue: 0,0:10:38.48,0:10:41.47,Default,,0000,0000,0000,,he said that about\NGreenwich Village on 9-11.
Dialogue: 0,0:10:41.47,0:10:47.12,Default,,0000,0000,0000,,Whether it's religious decadence,\Nsexual decadence, gluttony,
Dialogue: 0,0:10:47.12,0:10:49.50,Default,,0000,0000,0000,,the violence of the arena\Nor something else,
Dialogue: 0,0:10:49.50,0:10:53.99,Default,,0000,0000,0000,,Pompeii was destroyed\Nbecause it deserved to be destroyed.
Dialogue: 0,0:10:53.99,0:10:55.97,Default,,0000,0000,0000,,That's one of our ideas.
Dialogue: 0,0:10:55.97,0:11:01.14,Default,,0000,0000,0000,,Apocalypse - we can't think of the city\Nwithout thinking of its destruction.
Dialogue: 0,0:11:01.56,0:11:05.46,Default,,0000,0000,0000,,The daily lives of its inhabitants\Nthat we reconstruct
Dialogue: 0,0:11:05.46,0:11:08.42,Default,,0000,0000,0000,,we think we experience\Nwhen we go there or go to an exhibit -
Dialogue: 0,0:11:08.42,0:11:10.89,Default,,0000,0000,0000,,we know the ending: it's the eruption.
Dialogue: 0,0:11:10.89,0:11:12.80,Default,,0000,0000,0000,,Well, they didn't know the ending.
Dialogue: 0,0:11:12.80,0:11:17.22,Default,,0000,0000,0000,,And then resurrection has to do\Nwith the fantasy of archaeology,
Dialogue: 0,0:11:17.22,0:11:20.40,Default,,0000,0000,0000,,the fantasy that we can\Nsomehow recover the past.
Dialogue: 0,0:11:20.40,0:11:24.73,Default,,0000,0000,0000,,So quickly, I want to run through\Njust a few objects in the exhibition
Dialogue: 0,0:11:24.73,0:11:27.31,Default,,0000,0000,0000,,and talk a little bit more\Nabout these three themes.
Dialogue: 0,0:11:27.31,0:11:29.16,Default,,0000,0000,0000,,Decadence - a painting like this,
Dialogue: 0,0:11:29.16,0:11:32.46,Default,,0000,0000,0000,,by John William Godward\Nin the Getty's own collection.
Dialogue: 0,0:11:32.46,0:11:35.20,Default,,0000,0000,0000,,We see these women\Nin very sheer garments -
Dialogue: 0,0:11:35.20,0:11:37.72,Default,,0000,0000,0000,,I mean, we really see these women -
Dialogue: 0,0:11:37.72,0:11:41.02,Default,,0000,0000,0000,,and they're in an archaeologically\Ncorrect interior:
Dialogue: 0,0:11:41.02,0:11:45.67,Default,,0000,0000,0000,,luscious, colored marble veneers,\Nmosaic floors in the corner,
Dialogue: 0,0:11:45.67,0:11:47.28,Default,,0000,0000,0000,,tiger skins, bear skins.
Dialogue: 0,0:11:47.28,0:11:51.26,Default,,0000,0000,0000,,They're playing with each other,\Nor one's teasing the other,
Dialogue: 0,0:11:51.26,0:11:56.05,Default,,0000,0000,0000,,with little bone hairpins\Nwith carved figures on them.
Dialogue: 0,0:11:56.05,0:12:00.06,Default,,0000,0000,0000,,These are all things taken from Pompeii\Nand the Naples Archaeological Museum.
Dialogue: 0,0:12:00.06,0:12:01.72,Default,,0000,0000,0000,,It's foundationally accurate;
Dialogue: 0,0:12:01.72,0:12:05.09,Default,,0000,0000,0000,,there's the support system\Nthat's totally credible,
Dialogue: 0,0:12:05.09,0:12:07.39,Default,,0000,0000,0000,,but the scene is a Victorian fantasy.
Dialogue: 0,0:12:07.39,0:12:08.40,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:12:08.40,0:12:10.78,Default,,0000,0000,0000,,It's the fantasy of a Victorian male
Dialogue: 0,0:12:10.78,0:12:15.09,Default,,0000,0000,0000,,who's imagining what a pair\Nof courtesans is doing all day,
Dialogue: 0,0:12:15.09,0:12:17.92,Default,,0000,0000,0000,,waiting for their lovers\Nto come in the evening.
Dialogue: 0,0:12:17.92,0:12:22.78,Default,,0000,0000,0000,,This is, again, the past being used\Nto mirror the present,
Dialogue: 0,0:12:22.78,0:12:24.06,Default,,0000,0000,0000,,to see what's forbidden.
Dialogue: 0,0:12:24.06,0:12:27.19,Default,,0000,0000,0000,,And, of course, Godward \Ncouldn't paint this in contemporary terms;
Dialogue: 0,0:12:27.19,0:12:28.78,Default,,0000,0000,0000,,it wouldn't have been acceptable.
Dialogue: 0,0:12:28.78,0:12:32.29,Default,,0000,0000,0000,,But he can dress it up in classical garb\Nand make it Pompeian,
Dialogue: 0,0:12:32.29,0:12:34.56,Default,,0000,0000,0000,,and it's okay for his audience.
Dialogue: 0,0:12:35.06,0:12:38.90,Default,,0000,0000,0000,,We're very pleased to get this painting,\NThe Gladiator at the Banquet,
Dialogue: 0,0:12:38.90,0:12:41.66,Default,,0000,0000,0000,,from the Museo di Capodimonte in Naples,
Dialogue: 0,0:12:41.66,0:12:43.97,Default,,0000,0000,0000,,the masterpiece of Francesco Netti,
Dialogue: 0,0:12:43.97,0:12:46.29,Default,,0000,0000,0000,,which, again, I've researched this.
Dialogue: 0,0:12:46.29,0:12:48.68,Default,,0000,0000,0000,,Archaeologically, it's perfect.
Dialogue: 0,0:12:48.68,0:12:51.97,Default,,0000,0000,0000,,The building, the mosaics,\Nthe frescoes on the wall,
Dialogue: 0,0:12:51.97,0:12:53.70,Default,,0000,0000,0000,,the helmet of the gladiators -
Dialogue: 0,0:12:53.70,0:12:58.79,Default,,0000,0000,0000,,everything can be traced back\Nto remains on site in Pompeii
Dialogue: 0,0:12:58.79,0:13:01.53,Default,,0000,0000,0000,,or in the Naples museum\Nwhere most of the finds went.
Dialogue: 0,0:13:01.53,0:13:04.44,Default,,0000,0000,0000,,And Netti, we know, studied those finds,
Dialogue: 0,0:13:04.44,0:13:10.46,Default,,0000,0000,0000,,and yet the overall scene\Nis a fantastic invention.
Dialogue: 0,0:13:10.46,0:13:12.46,Default,,0000,0000,0000,,Gladiators at a banquet?
Dialogue: 0,0:13:12.46,0:13:15.29,Default,,0000,0000,0000,,Now, if you watch gladiator movies\Non TV or something,
Dialogue: 0,0:13:15.29,0:13:17.01,Default,,0000,0000,0000,,you might just think this happened.
Dialogue: 0,0:13:17.01,0:13:19.57,Default,,0000,0000,0000,,But gladiators were highly trained\Nand very expensive.
Dialogue: 0,0:13:19.57,0:13:21.40,Default,,0000,0000,0000,,They didn't perform at dinner parties.
Dialogue: 0,0:13:21.40,0:13:23.31,Default,,0000,0000,0000,,They performed in the arena,
Dialogue: 0,0:13:23.31,0:13:27.02,Default,,0000,0000,0000,,and they were rarely killed,\Nbecause they were too expensive.
Dialogue: 0,0:13:27.02,0:13:31.48,Default,,0000,0000,0000,,So this scene of drunken,\Nmurderous, dissolute Romans
Dialogue: 0,0:13:31.48,0:13:35.08,Default,,0000,0000,0000,,falling over themselves,\Nliterally, into the dirt,
Dialogue: 0,0:13:35.08,0:13:39.79,Default,,0000,0000,0000,,or swooning, the women\Noffering wine to the victorious gladiator
Dialogue: 0,0:13:39.79,0:13:45.14,Default,,0000,0000,0000,,as these emaciated slaves drag his victim\Nout through the bloody sand.
Dialogue: 0,0:13:45.14,0:13:49.36,Default,,0000,0000,0000,,This is not only an indictment\Nof Ancient Rome;
Dialogue: 0,0:13:49.67,0:13:52.33,Default,,0000,0000,0000,,we know that Netti was a social reformer.
Dialogue: 0,0:13:52.33,0:13:53.84,Default,,0000,0000,0000,,He wrote copiously
Dialogue: 0,0:13:53.84,0:13:56.85,Default,,0000,0000,0000,,about the terrible conditions\Nof peasants in Southern Italy.
Dialogue: 0,0:13:56.85,0:14:00.41,Default,,0000,0000,0000,,This is an attack on contemporary\Naristocrats and landowners
Dialogue: 0,0:14:00.41,0:14:02.51,Default,,0000,0000,0000,,translated into the past.
Dialogue: 0,0:14:02.51,0:14:06.61,Default,,0000,0000,0000,,Again, Pompeii as mirror, not window.
Dialogue: 0,0:14:06.61,0:14:08.71,Default,,0000,0000,0000,,I've spoken a lot about apocalypse.
Dialogue: 0,0:14:08.71,0:14:10.89,Default,,0000,0000,0000,,We have lots of volcano\Npaintings in the show.
Dialogue: 0,0:14:10.89,0:14:12.89,Default,,0000,0000,0000,,I just want to talk briefly\Nabout this one,
Dialogue: 0,0:14:12.89,0:14:14.34,Default,,0000,0000,0000,,which is one of my favorites.
Dialogue: 0,0:14:14.34,0:14:18.20,Default,,0000,0000,0000,,Sebastian Pether, a poor, British artist,\Nnever made it to Naples,
Dialogue: 0,0:14:18.20,0:14:19.93,Default,,0000,0000,0000,,copied other people's paintings,
Dialogue: 0,0:14:19.93,0:14:23.34,Default,,0000,0000,0000,,and that's why there's confusion\Nabout this architecture in the middle -
Dialogue: 0,0:14:23.34,0:14:25.69,Default,,0000,0000,0000,,Roman architecture with cupolas - un huh.
Dialogue: 0,0:14:25.69,0:14:26.76,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:14:26.76,0:14:27.78,Default,,0000,0000,0000,,The sea is calm,
Dialogue: 0,0:14:27.78,0:14:30.01,Default,,0000,0000,0000,,but what I really love are two things.
Dialogue: 0,0:14:30.01,0:14:35.98,Default,,0000,0000,0000,,There are figures in the painting\Nin 19th century dress,
Dialogue: 0,0:14:36.26,0:14:39.56,Default,,0000,0000,0000,,collapsing the time between now and then.
Dialogue: 0,0:14:39.56,0:14:42.14,Default,,0000,0000,0000,,They're spectators\Nto this ancient disaster.
Dialogue: 0,0:14:42.14,0:14:44.39,Default,,0000,0000,0000,,But what I really love is this frame,
Dialogue: 0,0:14:44.97,0:14:50.79,Default,,0000,0000,0000,,the gilt frame with chunks\Nof lava set in and gilt.
Dialogue: 0,0:14:50.79,0:14:56.80,Default,,0000,0000,0000,,So we have here physical proof\Nof the veracity of the scene, right?
Dialogue: 0,0:14:56.80,0:14:58.18,Default,,0000,0000,0000,,Chunks of Vesuvian lava.
Dialogue: 0,0:14:58.18,0:14:59.51,Default,,0000,0000,0000,,This really happened.
Dialogue: 0,0:14:59.51,0:15:01.84,Default,,0000,0000,0000,,And this is what all the literature said.
Dialogue: 0,0:15:01.84,0:15:05.18,Default,,0000,0000,0000,,But we went to the Boston Museum\Nof Fine Arts to examine the painting,
Dialogue: 0,0:15:05.18,0:15:07.52,Default,,0000,0000,0000,,and we got it down,\Nand we started looking at it,
Dialogue: 0,0:15:07.52,0:15:09.74,Default,,0000,0000,0000,,and one of my colleagues there\Nis a woodworker.
Dialogue: 0,0:15:09.74,0:15:14.04,Default,,0000,0000,0000,,He said, "This isn't lava;\Nit's shaved wood burl."
Dialogue: 0,0:15:14.45,0:15:19.46,Default,,0000,0000,0000,,So even the foundational testimony\Nto the truth of the image is fake.
Dialogue: 0,0:15:19.46,0:15:20.94,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:15:21.81,0:15:24.67,Default,,0000,0000,0000,,And that's true of a lot\Nof what we see at Pompeii.
Dialogue: 0,0:15:25.29,0:15:28.91,Default,,0000,0000,0000,,Many, many people,\Nmany specialists, my colleagues,
Dialogue: 0,0:15:28.91,0:15:33.45,Default,,0000,0000,0000,,don't know that Pompeii\Nwas very badly bombed
Dialogue: 0,0:15:33.45,0:15:36.34,Default,,0000,0000,0000,,by the Allies in the Second World War,
Dialogue: 0,0:15:36.34,0:15:37.81,Default,,0000,0000,0000,,collateral damage.
Dialogue: 0,0:15:38.24,0:15:39.56,Default,,0000,0000,0000,,There were no smart bombs,
Dialogue: 0,0:15:39.56,0:15:42.44,Default,,0000,0000,0000,,and Pompeii is located\Nvery near major supply routes,
Dialogue: 0,0:15:42.44,0:15:44.43,Default,,0000,0000,0000,,roads, bridges, railway lines,
Dialogue: 0,0:15:44.43,0:15:48.52,Default,,0000,0000,0000,,and after the invasions\Nof Salerno in 1943,
Dialogue: 0,0:15:48.52,0:15:51.58,Default,,0000,0000,0000,,the Allies needed\Nto cut off German resupply.
Dialogue: 0,0:15:52.80,0:15:58.48,Default,,0000,0000,0000,,Over 160 bomb strikes are recorded;\NI'm sure there are many, many others.
Dialogue: 0,0:15:58.48,0:16:01.76,Default,,0000,0000,0000,,And many of these buildings\Nthat were so badly bombed out
Dialogue: 0,0:16:02.18,0:16:06.50,Default,,0000,0000,0000,,were quickly restored\Nin the late 1940s and '50s.
Dialogue: 0,0:16:06.96,0:16:11.79,Default,,0000,0000,0000,,So what we see at Pompeii\Nisn't what Vesuvius left;
Dialogue: 0,0:16:11.79,0:16:13.81,Default,,0000,0000,0000,,it's part of an ongoing process.
Dialogue: 0,0:16:13.81,0:16:17.80,Default,,0000,0000,0000,,Our experience there isn't\Na direct connection to ancient Rome;
Dialogue: 0,0:16:17.80,0:16:19.80,Default,,0000,0000,0000,,it's one that's highly mediated.
Dialogue: 0,0:16:19.80,0:16:26.21,Default,,0000,0000,0000,,And that's true of the most famous\Nand familiar "artifacts" from Pompeii,
Dialogue: 0,0:16:26.97,0:16:28.53,Default,,0000,0000,0000,,the bodies.
Dialogue: 0,0:16:29.33,0:16:31.32,Default,,0000,0000,0000,,The bodies aren't petrified,
Dialogue: 0,0:16:31.46,0:16:32.94,Default,,0000,0000,0000,,they're not calcified,
Dialogue: 0,0:16:33.08,0:16:34.51,Default,,0000,0000,0000,,they're not ossified -
Dialogue: 0,0:16:34.98,0:16:37.23,Default,,0000,0000,0000,,they're modern sculptures.
Dialogue: 0,0:16:37.88,0:16:41.31,Default,,0000,0000,0000,,They were created first in 1863,
Dialogue: 0,0:16:41.31,0:16:44.62,Default,,0000,0000,0000,,when archaeologists\Nwho had long found hollows in the ash -
Dialogue: 0,0:16:44.62,0:16:49.100,Default,,0000,0000,0000,,where people who had died from suffocation\Nhad been buried by the falling debris
Dialogue: 0,0:16:49.100,0:16:52.96,Default,,0000,0000,0000,,and then their bodies\Ndisintegrated, leaving hollows.
Dialogue: 0,0:16:52.96,0:16:56.26,Default,,0000,0000,0000,,Archaeologists realized they could\Npour plaster into these hollows
Dialogue: 0,0:16:56.26,0:16:57.68,Default,,0000,0000,0000,,and create forms
Dialogue: 0,0:16:57.68,0:17:02.80,Default,,0000,0000,0000,,that were modern casts of the lost voids\Nof the disappeared victims.
Dialogue: 0,0:17:02.80,0:17:05.41,Default,,0000,0000,0000,,And that's what you see\Nif you go to Pompeii
Dialogue: 0,0:17:05.41,0:17:07.76,Default,,0000,0000,0000,,in cases around the site.
Dialogue: 0,0:17:07.76,0:17:11.07,Default,,0000,0000,0000,,But if you go to exhibitions\Nin Malibu or San Diego or New York
Dialogue: 0,0:17:11.07,0:17:13.72,Default,,0000,0000,0000,,or Denver or Cincinnati\Nor anywhere else in the world,
Dialogue: 0,0:17:13.72,0:17:15.48,Default,,0000,0000,0000,,you don't see those plasters -
Dialogue: 0,0:17:15.48,0:17:18.86,Default,,0000,0000,0000,,I always have to catch myself\Nthat I don't call them original plasters,
Dialogue: 0,0:17:18.86,0:17:21.65,Default,,0000,0000,0000,,because they're not original,\Nthey're already one removed -
Dialogue: 0,0:17:21.65,0:17:25.26,Default,,0000,0000,0000,,you see second-generation resin casts,
Dialogue: 0,0:17:25.26,0:17:28.93,Default,,0000,0000,0000,,after those first-generation\Nplaster casts,
Dialogue: 0,0:17:28.93,0:17:33.31,Default,,0000,0000,0000,,after the empty voids\Nof the disappeared victims.
Dialogue: 0,0:17:33.78,0:17:37.72,Default,,0000,0000,0000,,So we're three or more times\Nremoved from those victims.
Dialogue: 0,0:17:37.72,0:17:40.41,Default,,0000,0000,0000,,That doesn't mean\Nthese aren't powerful images
Dialogue: 0,0:17:40.41,0:17:41.86,Default,,0000,0000,0000,,that affect us emotionally,
Dialogue: 0,0:17:41.86,0:17:45.38,Default,,0000,0000,0000,,and that doesn't mean\Nthat they've inspired artists since then,
Dialogue: 0,0:17:45.38,0:17:47.09,Default,,0000,0000,0000,,generations of artists.
Dialogue: 0,0:17:47.09,0:17:50.71,Default,,0000,0000,0000,,Just as More and Valenciennes\Nand Piranesi and others
Dialogue: 0,0:17:50.71,0:17:53.74,Default,,0000,0000,0000,,were inspired in the 17th\Nand 18th century,
Dialogue: 0,0:17:53.74,0:17:57.36,Default,,0000,0000,0000,,in the 19th and 20th\Nand 21st centuries,
Dialogue: 0,0:17:58.22,0:18:01.83,Default,,0000,0000,0000,,artists have been inspired\Nby Pompeii and the bodies
Dialogue: 0,0:18:01.83,0:18:06.47,Default,,0000,0000,0000,,and the calamity\Nthat befell the inhabitants.
Dialogue: 0,0:18:06.47,0:18:09.42,Default,,0000,0000,0000,,On the top, I show you\Na sculpture by Arturo Martini,
Dialogue: 0,0:18:09.42,0:18:11.68,Default,,0000,0000,0000,,an Italian sculptor of between the wars,
Dialogue: 0,0:18:11.68,0:18:13.91,Default,,0000,0000,0000,,who deliberately rejected
Dialogue: 0,0:18:13.91,0:18:18.71,Default,,0000,0000,0000,,the beautiful neoclassicism\Nof Mussolini's fascist era
Dialogue: 0,0:18:18.71,0:18:23.54,Default,,0000,0000,0000,,to carve in this rough stone\Na figure he called "The Drinker,"
Dialogue: 0,0:18:23.54,0:18:25.87,Default,,0000,0000,0000,,modeled on the Pompeian bodies.
Dialogue: 0,0:18:25.87,0:18:29.33,Default,,0000,0000,0000,,And we'll have in the exhibition\Nthis figure on the bottom,
Dialogue: 0,0:18:29.47,0:18:32.15,Default,,0000,0000,0000,,by our contemporary, Anthony Gormley,
Dialogue: 0,0:18:32.15,0:18:37.06,Default,,0000,0000,0000,,who uses his own body\Nto image, in this case,
Dialogue: 0,0:18:37.06,0:18:41.09,Default,,0000,0000,0000,,what he calls "The End\Nof the Human Project."
Dialogue: 0,0:18:41.44,0:18:44.28,Default,,0000,0000,0000,,We also have a modern work,\Na contemporary work,
Dialogue: 0,0:18:44.28,0:18:48.30,Default,,0000,0000,0000,,that reflects the most famous\Nof the casts, the dog of Pompeii.
Dialogue: 0,0:18:48.73,0:18:50.20,Default,,0000,0000,0000,,Allan McCollum,
Dialogue: 0,0:18:50.47,0:18:56.09,Default,,0000,0000,0000,,to emphasize our distance\Nfrom the original loss and sorrow
Dialogue: 0,0:18:56.24,0:19:01.82,Default,,0000,0000,0000,,and yet how it's still with us, although\Nin this very mitigated, mediated form,
Dialogue: 0,0:19:01.98,0:19:05.01,Default,,0000,0000,0000,,has created a work based on multiples,
Dialogue: 0,0:19:05.39,0:19:07.80,Default,,0000,0000,0000,,to remind us that we're\Nnot seeing the dog;
Dialogue: 0,0:19:07.80,0:19:12.03,Default,,0000,0000,0000,,the dog is gone, and we're seeing\Na reflection of it.
Dialogue: 0,0:19:12.62,0:19:15.83,Default,,0000,0000,0000,,Now, there's a lot more in the show,\Nbut I have to move on quickly.
Dialogue: 0,0:19:15.83,0:19:18.22,Default,,0000,0000,0000,,Resurrection - the fantasy of archaeology.
Dialogue: 0,0:19:18.22,0:19:21.24,Default,,0000,0000,0000,,This French painting\Nby Sain, in the Orsay,
Dialogue: 0,0:19:21.24,0:19:23.45,Default,,0000,0000,0000,,which is coming to the Villa in two weeks,
Dialogue: 0,0:19:23.45,0:19:25.40,Default,,0000,0000,0000,,shows this happy scene
Dialogue: 0,0:19:25.40,0:19:31.30,Default,,0000,0000,0000,,of peasant women\Ncarrying dirt and revealing finds.
Dialogue: 0,0:19:31.30,0:19:32.92,Default,,0000,0000,0000,,That's not how it was.
Dialogue: 0,0:19:33.26,0:19:37.48,Default,,0000,0000,0000,,The earliest excavations we know\Nwere done by convicts
Dialogue: 0,0:19:38.46,0:19:39.99,Default,,0000,0000,0000,,in chains.
Dialogue: 0,0:19:40.71,0:19:43.20,Default,,0000,0000,0000,,In the 19th century,\Nthey were done by poor peasants,
Dialogue: 0,0:19:43.20,0:19:45.22,Default,,0000,0000,0000,,and notice in the front here,
Dialogue: 0,0:19:45.22,0:19:50.17,Default,,0000,0000,0000,,the guard with a switch\Nto make sure the work kept going.
Dialogue: 0,0:19:50.57,0:19:55.74,Default,,0000,0000,0000,,I'm very pleased that from the Vatican\Nwe'll have this object.
Dialogue: 0,0:19:55.74,0:19:58.06,Default,,0000,0000,0000,,How many of you\Nhave seen the Sistine Chapel?
Dialogue: 0,0:19:59.55,0:20:00.72,Default,,0000,0000,0000,,I'd say most of you.
Dialogue: 0,0:20:00.72,0:20:03.48,Default,,0000,0000,0000,,Then you've all walked past this\Nand not seen it.
Dialogue: 0,0:20:03.48,0:20:05.02,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:20:05.02,0:20:06.25,Default,,0000,0000,0000,,I did several times.
Dialogue: 0,0:20:06.25,0:20:08.65,Default,,0000,0000,0000,,It's in the room\Nright after the Sistine Chapel,
Dialogue: 0,0:20:08.65,0:20:10.89,Default,,0000,0000,0000,,and you walk by in a daze,\Nand you don't see it.
Dialogue: 0,0:20:10.89,0:20:13.85,Default,,0000,0000,0000,,This is a monumental, beautiful vetrine,
Dialogue: 0,0:20:13.85,0:20:15.22,Default,,0000,0000,0000,,almost a reliquary,
Dialogue: 0,0:20:15.22,0:20:17.63,Default,,0000,0000,0000,,with a Latin inscription\Nin gilt lettering
Dialogue: 0,0:20:17.63,0:20:21.61,Default,,0000,0000,0000,,saying these are objects\Nthat were excavated at Pompeii
Dialogue: 0,0:20:21.61,0:20:23.27,Default,,0000,0000,0000,,in the presence of Pope Pius IX
Dialogue: 0,0:20:23.27,0:20:24.40,Default,,0000,0000,0000,,in 1849
Dialogue: 0,0:20:24.40,0:20:26.58,Default,,0000,0000,0000,,and given to him by the King of Naples.
Dialogue: 0,0:20:26.58,0:20:28.85,Default,,0000,0000,0000,,Archaeology has always been
Dialogue: 0,0:20:28.85,0:20:31.74,Default,,0000,0000,0000,,the sport of kings\Nand the stuff of politics.
Dialogue: 0,0:20:31.74,0:20:33.15,Default,,0000,0000,0000,,But think for a minute.
Dialogue: 0,0:20:33.15,0:20:36.24,Default,,0000,0000,0000,,If you're running the excavations\Nand the Pope is coming to visit
Dialogue: 0,0:20:36.24,0:20:38.55,Default,,0000,0000,0000,,and you're going to put on\Nan excavation for him,
Dialogue: 0,0:20:38.55,0:20:41.47,Default,,0000,0000,0000,,are you going to leave it to chance\Nwhat you might turn up?
Dialogue: 0,0:20:41.96,0:20:42.97,Default,,0000,0000,0000,,No way.
Dialogue: 0,0:20:42.97,0:20:45.24,Default,,0000,0000,0000,,The case is full of wonderful finds:
Dialogue: 0,0:20:45.24,0:20:48.54,Default,,0000,0000,0000,,bronzes, terracotta, glass, marbles.
Dialogue: 0,0:20:48.54,0:20:51.85,Default,,0000,0000,0000,,The marble relief on the bottom\Nwas thought to be Alexander the Great.
Dialogue: 0,0:20:51.85,0:20:53.43,Default,,0000,0000,0000,,Spectacular things.
Dialogue: 0,0:20:53.43,0:20:57.90,Default,,0000,0000,0000,,There's no doubt that\Nthese excavations were staged,
Dialogue: 0,0:20:57.90,0:21:01.39,Default,,0000,0000,0000,,and scholars today debate\Nthe degree to which they're salted -
Dialogue: 0,0:21:01.39,0:21:03.85,Default,,0000,0000,0000,,that the pieces were deliberately\Nburied to be found
Dialogue: 0,0:21:03.85,0:21:05.23,Default,,0000,0000,0000,,rather than prepared.
Dialogue: 0,0:21:05.23,0:21:06.67,Default,,0000,0000,0000,,In fact, some people think
Dialogue: 0,0:21:06.67,0:21:10.85,Default,,0000,0000,0000,,that relief of the horseman\Ncomes from a different site altogether.
Dialogue: 0,0:21:10.85,0:21:16.20,Default,,0000,0000,0000,,So even what you excavate at Pompeii\Nmight not be Pompeian.
Dialogue: 0,0:21:16.78,0:21:19.76,Default,,0000,0000,0000,,We'll have screens\Nfor film clips, in the show,
Dialogue: 0,0:21:19.76,0:21:22.67,Default,,0000,0000,0000,,from the earliest silents\Nthrough the great epics
Dialogue: 0,0:21:22.67,0:21:25.83,Default,,0000,0000,0000,,because the moving picture\Nhas mightily shaped our view
Dialogue: 0,0:21:25.83,0:21:30.16,Default,,0000,0000,0000,,and they follow this arc of decadence,\Napocalypse and resurrection
Dialogue: 0,0:21:30.16,0:21:32.76,Default,,0000,0000,0000,,up to the present day,
Dialogue: 0,0:21:32.76,0:21:35.63,Default,,0000,0000,0000,,where the Simpsons
Dialogue: 0,0:21:35.63,0:21:36.67,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:21:36.67,0:21:40.81,Default,,0000,0000,0000,,go to Pompeii, and they find themselves.
Dialogue: 0,0:21:40.81,0:21:43.11,Default,,0000,0000,0000,,Right? It's the mirror.
Dialogue: 0,0:21:43.11,0:21:45.79,Default,,0000,0000,0000,,And Doctor Who - I love this.
Dialogue: 0,0:21:45.79,0:21:48.86,Default,,0000,0000,0000,,The eruption of the volcano\Nand the destruction of thousands
Dialogue: 0,0:21:48.86,0:21:49.96,Default,,0000,0000,0000,,isn't enough.
Dialogue: 0,0:21:49.96,0:21:52.08,Default,,0000,0000,0000,,They have to add space aliens.
Dialogue: 0,0:21:52.08,0:21:53.11,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:21:53.11,0:21:55.25,Default,,0000,0000,0000,,How does that reflect upon us?
Dialogue: 0,0:21:55.79,0:21:57.27,Default,,0000,0000,0000,,Now, a few months ago -
Dialogue: 0,0:21:57.27,0:22:00.65,Default,,0000,0000,0000,,and I've been working on this show\Nwith colleagues for years -
Dialogue: 0,0:22:00.65,0:22:05.24,Default,,0000,0000,0000,,in April, it was the anniversary\Nof the sinking of the Titanic,
Dialogue: 0,0:22:05.76,0:22:09.52,Default,,0000,0000,0000,,and I was struck to see this photo\Nof half a Titanic, full-scale,
Dialogue: 0,0:22:09.52,0:22:11.14,Default,,0000,0000,0000,,in Pigeon Forge, Tennessee.
Dialogue: 0,0:22:11.14,0:22:12.44,Default,,0000,0000,0000,,It's bizarre.
Dialogue: 0,0:22:12.85,0:22:14.47,Default,,0000,0000,0000,,But you'll remember
Dialogue: 0,0:22:14.47,0:22:19.63,Default,,0000,0000,0000,,there were all these celebrations\Nand parties and reenactments
Dialogue: 0,0:22:19.63,0:22:21.25,Default,,0000,0000,0000,,of the sinking of the Titanic.
Dialogue: 0,0:22:21.25,0:22:22.39,Default,,0000,0000,0000,,And I started to think,
Dialogue: 0,0:22:22.39,0:22:26.83,Default,,0000,0000,0000,,How does it happen\Nthat a calamity on this scale
Dialogue: 0,0:22:26.83,0:22:31.56,Default,,0000,0000,0000,,becomes the subject\Nof entertainment and celebration?
Dialogue: 0,0:22:32.33,0:22:34.99,Default,,0000,0000,0000,,It happened in Pompeii very early,
Dialogue: 0,0:22:34.99,0:22:38.17,Default,,0000,0000,0000,,not only with paintings\Nbut with operas and stage productions.
Dialogue: 0,0:22:38.17,0:22:42.79,Default,,0000,0000,0000,,In 1906, you could dance\NThe Last Days of Pompeii twostep march
Dialogue: 0,0:22:42.79,0:22:45.07,Default,,0000,0000,0000,,for an evening's entertainment.
Dialogue: 0,0:22:45.07,0:22:47.36,Default,,0000,0000,0000,,Today, taking a little more risk,
Dialogue: 0,0:22:47.36,0:22:51.30,Default,,0000,0000,0000,,you can go to Reno or Las Vegas\Nand play the Pompeii slot machine,
Dialogue: 0,0:22:51.30,0:22:55.11,Default,,0000,0000,0000,,and if you win, the volcano\Nwill erupt with gold coins.
Dialogue: 0,0:22:55.11,0:22:56.38,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:22:56.38,0:22:59.99,Default,,0000,0000,0000,,And if you have the occasion\Nto travel to Williamsburg, Virginia,
Dialogue: 0,0:22:59.99,0:23:01.39,Default,,0000,0000,0000,,and visit Busch gardens,
Dialogue: 0,0:23:01.39,0:23:04.66,Default,,0000,0000,0000,,you can take the Escape\Nfrom Pompeii water ride.
Dialogue: 0,0:23:05.39,0:23:07.05,Default,,0000,0000,0000,,It's fun, especially on a hot day;
Dialogue: 0,0:23:07.05,0:23:08.62,Default,,0000,0000,0000,,I did it once.
Dialogue: 0,0:23:09.33,0:23:14.10,Default,,0000,0000,0000,,But I submit to you,\Nwe can't really escape from Pompeii,
Dialogue: 0,0:23:14.36,0:23:18.67,Default,,0000,0000,0000,,because we've come to carry it\Naround with us wherever we go.
Dialogue: 0,0:23:19.07,0:23:24.74,Default,,0000,0000,0000,,But it escapes us,\Nthe real, the historical Pompeii
Dialogue: 0,0:23:25.15,0:23:27.34,Default,,0000,0000,0000,,because the Pompeii we know
Dialogue: 0,0:23:27.34,0:23:32.56,Default,,0000,0000,0000,,is the one that we're continually\Nreinventing and recrafting
Dialogue: 0,0:23:32.93,0:23:38.41,Default,,0000,0000,0000,,to suit our own preoccupations,\Nneeds and desires.
Dialogue: 0,0:23:38.41,0:23:40.88,Default,,0000,0000,0000,,And that's what\Nthis exhibition is all about.
Dialogue: 0,0:23:41.54,0:23:44.56,Default,,0000,0000,0000,,It opens in three weeks, September 12th,
Dialogue: 0,0:23:44.56,0:23:46.44,Default,,0000,0000,0000,,runs through early January.
Dialogue: 0,0:23:46.44,0:23:50.61,Default,,0000,0000,0000,,There's another show,\Nmore documentary, of photographs,
Dialogue: 0,0:23:50.61,0:23:52.18,Default,,0000,0000,0000,,at the Italian Cultural Institute
Dialogue: 0,0:23:52.18,0:23:53.28,Default,,0000,0000,0000,,in Westwood.
Dialogue: 0,0:23:53.28,0:23:55.58,Default,,0000,0000,0000,,Please come visit it at the Getty Villa.
Dialogue: 0,0:23:55.58,0:23:56.88,Default,,0000,0000,0000,,Thank you very much.
Dialogue: 0,0:23:56.88,0:23:58.65,Default,,0000,0000,0000,,(Applause)