0:00:04.953,0:00:07.902 We're looking at the Bishop Bernward doors 0:00:07.902,0:00:10.180 that date from about 1015. 0:00:10.180,0:00:12.382 We know that Bishop Bernard went 0:00:12.382,0:00:14.584 on a pilgrimage to Rome, 0:00:14.584,0:00:16.788 and then returned back to Hildesheim 0:00:16.788,0:00:18.398 and wanted to recreate some 0:00:18.398,0:00:20.800 of the monumental art that he saw. 0:00:20.008,0:00:21.619 And specifically when he was in Rome, 0:00:21.619,0:00:24.832 he saw the monumental wooden doors at Santa Sabina 0:00:24.832,0:00:27.070 that have scenes from the Old and New Testament 0:00:27.070,0:00:27.965 carved into them. 0:00:27.965,0:00:30.118 And he felt like he needed his own doors. 0:00:30.118,0:00:33.548 We read these starting in the upper left hand corner, 0:00:33.548,0:00:35.926 in which you have the creation 0:00:35.926,0:00:37.558 of Eve from the side of Adam. 0:00:37.558,0:00:39.285 And then, below that, 0:00:39.285,0:00:41.120 is the presentation of Eve to Adam. 0:00:41.012,0:00:42.741 Then the Temptation. 0:00:42.741,0:00:45.977 Below that is then the accusation of Adam and Eve. 0:00:45.977,0:00:48.575 And then below that the Expulsion. 0:00:48.575,0:00:52.036 The panel below that, interrupted by the door handles, 0:00:52.036,0:00:54.865 and we see Adam working the land on the left – 0:00:54.865,0:00:57.211 Eve nursing on the right. 0:00:57.211,0:00:59.786 And a fun fact about Eve's nursing is that this is one of 0:00:59.786,0:01:02.701 maybe only twenty images of Eve nursing. 0:01:02.701,0:01:07.160 Below that we have Cain and Abel and their sacrifices 0:01:07.160,0:01:09.201 or presentation to the Lord. 0:01:09.201,0:01:11.657 Below that the final panel 0:01:11.657,0:01:14.113 is the murder of Abel by Cain. 0:01:14.113,0:01:16.569 And then instead of going back to the top on the right 0:01:16.569,0:01:17.953 it starts at the bottom, where we have the Enunciation 0:01:17.953,0:01:20.991 with Mary and the Angel. 0:01:20.991,0:01:23.738 Then the Nativity – that's the birth of Jesus. 0:01:23.738,0:01:26.153 And then the scene is interrupted by the 0:01:26.153,0:01:28.658 door handle here, is the adoration of the Magi. 0:01:28.658,0:01:30.435 We have the three Magi on the right 0:01:30.435,0:01:32.363 approaching Mary and Jesus on the left. 0:01:32.363,0:01:34.733 Above that we have the Presentation in the Temple. 0:01:34.733,0:01:37.938 Above that we've got Christ being presented 0:01:37.938,0:01:40.816 to either Herod or Pilate before his crucifixion. 0:01:40.816,0:01:43.815 Above that we've got the crucifixion of Christ. 0:01:43.815,0:01:46.229 About that we have the Marys at the tomb, 0:01:46.229,0:01:47.706 which was the standard scene showing 0:01:47.706,0:01:50.397 the resurrection in the early Middle Ages. 0:01:50.397,0:01:52.415 And then at the very top we have 0:01:52.415,0:01:54.433 what's called the "Noli me tangere" [Touch me not] 0:01:54.433,0:01:56.452 Mary Magdalene sees Jesus in the garden 0:01:56.452,0:01:57.895 and he says, "Don't touch me." 0:01:57.895,0:02:01.199 And so we have our scenes from early Genesis, 0:02:01.199,0:02:03.697 and then scenes from the Gospels. 0:02:03.697,0:02:05.330 Now one of the really interesting things 0:02:05.330,0:02:06.963 that happens here, is that we have 0:02:06.963,0:02:08.596 all the scenes lined up next to each other. 0:02:08.596,0:02:11.431 There are some visual and also some thematic patterns 0:02:11.431,0:02:13.063 that happen left to right. 0:02:13.063,0:02:15.626 And the one that I think is a really good example – 0:02:15.626,0:02:17.577 in the third panel from the top, 0:02:17.577,0:02:19.528 we've got the Temptation. 0:02:19.528,0:02:21.481 Adam and Eve are about to eat the fruit. 0:02:21.481,0:02:24.033 And then on the right, the Crucifixion. 0:02:24.033,0:02:26.929 And if we look at the tree that holds the fruit 0:02:26.929,0:02:28.396 in the Adam and Eve scene- 0:02:28.396,0:02:30.973 it's very much a cruciform shaped tree – 0:02:30.973,0:02:33.041 just as we have Christ on the cross 0:02:33.041,0:02:35.145 in the center of the other image. 0:02:35.145,0:02:37.538 And then we have Adam and Eve on either side – 0:02:37.538,0:02:39.956 just as we have the tormentors on either side. 0:02:39.956,0:02:42.618 And then on he far edges of the Adam-and-Eve scene, 0:02:42.618,0:02:45.248 we've got trees and then we have Mary and John 0:02:45.248,0:02:46.871 in the crucifixion scene. 0:02:46.871,0:02:49.623 So there's a similarity of composition. 0:02:49.623,0:02:51.630 And what I think that does is bring out 0:02:51.630,0:02:53.712 the thematic connection of 0:02:53.712,0:02:57.369 "In Adam all men die. In Christ, all men are made alive." 0:02:57.369,0:03:00.087 Which is a really important idea for Christianity – 0:03:00.087,0:03:02.081 and especially for Christianity in the Middle Ages. 0:03:02.081,0:03:04.172 Absolutely. This is a very long, old tradition 0:03:04.172,0:03:06.263 in Christianity – 0:03:06.263,0:03:08.355 to compare Christ as the new Adam- 0:03:08.355,0:03:10.203 and then Mary as the new Eve. 0:03:10.203,0:03:13.364 And you have traditions that the cross was made 0:03:13.364,0:03:15.935 from the wood of the tree in the garden. 0:03:15.935,0:03:18.061 So this is an Ottonian work of art. 0:03:18.061,0:03:20.602 And Ottonians were kind of hangers-on 0:03:20.602,0:03:22.716 to the Carolingian Renaissance. 0:03:22.716,0:03:24.771 They saw themselves as being inheritors 0:03:24.771,0:03:26.484 of the Carolingian Empire. 0:03:26.484,0:03:29.524 In my mind, they're not so much looking back 0:03:29.524,0:03:32.279 so diligently to the classical models. 0:03:32.279,0:03:34.939 But there is definitely the flavor 0:03:34.939,0:03:37.812 of some of that Carolingian Renaissance here. 0:03:37.812,0:03:40.017 These are cast in solid bronze. 0:03:40.017,0:03:41.271 And it's very much thought that 0:03:41.271,0:03:44.853 the lost wax method was used here – 0:03:44.853,0:03:48.207 that Bishop Bernward had his artists recreate 0:03:48.207,0:03:50.531 or rediscover the lost-wax method, 0:03:50.531,0:03:54.043 so that these doors could be cast in two single pieces, 0:03:54.043,0:03:56.482 as opposed to being hammered from the inside 0:03:56.482,0:03:58.921 with the 'reposé' 0:03:58.921,0:04:01.360 And that is very much in keeping with that Carolingian 0:04:01.360,0:04:03.672 and the inherited idea of looking back 0:04:03.672,0:04:05.984 to classical and ancient models 0:04:05.984,0:04:08.298 and reclaiming them and reviving them. 0:04:08.298,0:04:09.467 Right. So we have the ancient method 0:04:09.467,0:04:12.377 used here in the Ottonian Period.