[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:02.58,Default,,0000,0000,0000,,(upbeat music)
Dialogue: 0,0:00:04.26,0:00:06.12,Default,,0000,0000,0000,,- [Lady Narrator] We're in the Louve
Dialogue: 0,0:00:06.12,0:00:09.69,Default,,0000,0000,0000,,looking at a small\Nexquisite Byzantine ivory
Dialogue: 0,0:00:09.69,0:00:12.34,Default,,0000,0000,0000,,that dates from the mid 10th century.
Dialogue: 0,0:00:12.34,0:00:14.46,Default,,0000,0000,0000,,- [Man Narrator] This is\Nthe middle Byzantine period
Dialogue: 0,0:00:14.46,0:00:16.85,Default,,0000,0000,0000,,soon after the iconophiles won
Dialogue: 0,0:00:16.85,0:00:18.78,Default,,0000,0000,0000,,their battle with the iconoclasts.
Dialogue: 0,0:00:18.78,0:00:22.40,Default,,0000,0000,0000,,- [Lady Narrator] From the\N700ths through to the mid 800ths
Dialogue: 0,0:00:22.40,0:00:26.71,Default,,0000,0000,0000,,the Byzantine emperor had\Ninstituted a policy of Iconoclasm
Dialogue: 0,0:00:26.71,0:00:28.95,Default,,0000,0000,0000,,that is disallowing images in churches,
Dialogue: 0,0:00:28.95,0:00:30.84,Default,,0000,0000,0000,,disallowing religious imagery.
Dialogue: 0,0:00:30.84,0:00:32.63,Default,,0000,0000,0000,,- [Man Narrator] But\Nwhen this was overturned
Dialogue: 0,0:00:32.63,0:00:34.38,Default,,0000,0000,0000,,artwork flourish throughout the Empire.
Dialogue: 0,0:00:34.38,0:00:36.83,Default,,0000,0000,0000,,- [Lady Narrator] And this is\Na period that art historians
Dialogue: 0,0:00:36.83,0:00:39.20,Default,,0000,0000,0000,,referred to as the Macedonian revival.
Dialogue: 0,0:00:39.20,0:00:40.69,Default,,0000,0000,0000,,- [Man Narrator] We're\Nlooking at a triptych,
Dialogue: 0,0:00:40.69,0:00:42.90,Default,,0000,0000,0000,,which is to say it is\Na three paneled ivory
Dialogue: 0,0:00:42.90,0:00:45.22,Default,,0000,0000,0000,,and you can see that it's\Nhinged so that the doors
Dialogue: 0,0:00:45.22,0:00:47.81,Default,,0000,0000,0000,,could actually close and\Nprotect the interior scene.
Dialogue: 0,0:00:47.81,0:00:50.29,Default,,0000,0000,0000,,It's carved on both\Nthe front and the back.
Dialogue: 0,0:00:50.29,0:00:51.70,Default,,0000,0000,0000,,- [Lady Narrator] At the top center,
Dialogue: 0,0:00:51.70,0:00:54.71,Default,,0000,0000,0000,,we see a scene that is common\Nduring this middle Byzantine
Dialogue: 0,0:00:54.71,0:00:56.23,Default,,0000,0000,0000,,period called the Deesis.
Dialogue: 0,0:00:56.23,0:00:58.23,Default,,0000,0000,0000,,- [Man Narrator] John the\NBaptist and the Virgin Mary,
Dialogue: 0,0:00:58.23,0:01:01.30,Default,,0000,0000,0000,,the bearer of God, come to Christ
Dialogue: 0,0:01:01.30,0:01:03.76,Default,,0000,0000,0000,,and ask for his protection\Nfor his blessing
Dialogue: 0,0:01:03.76,0:01:05.08,Default,,0000,0000,0000,,on behalf of humanity.
Dialogue: 0,0:01:05.08,0:01:07.72,Default,,0000,0000,0000,,- [Lady Narrator] This\Ntriptych then formed a private
Dialogue: 0,0:01:07.72,0:01:10.13,Default,,0000,0000,0000,,devotional object that could be opened
Dialogue: 0,0:01:10.13,0:01:14.65,Default,,0000,0000,0000,,and looking at this top\Ncenter panel of the Deesis
Dialogue: 0,0:01:14.65,0:01:18.07,Default,,0000,0000,0000,,one could engage in prayer\Nand ask John and Mary
Dialogue: 0,0:01:18.07,0:01:21.40,Default,,0000,0000,0000,,for intercession with\NChrist on their behalf.
Dialogue: 0,0:01:21.40,0:01:23.24,Default,,0000,0000,0000,,- [Man Narrator] We see Christ seated on
Dialogue: 0,0:01:23.24,0:01:25.73,Default,,0000,0000,0000,,an elaborate throne, his\Nright hand, his blessing,
Dialogue: 0,0:01:25.73,0:01:27.72,Default,,0000,0000,0000,,his left hand holds the Bible
Dialogue: 0,0:01:27.72,0:01:30.48,Default,,0000,0000,0000,,and we see his feet on\Na foot rest that appears
Dialogue: 0,0:01:30.48,0:01:32.48,Default,,0000,0000,0000,,really quite architectural.
Dialogue: 0,0:01:32.48,0:01:34.25,Default,,0000,0000,0000,,- [Lady Narrator] Above\NChrist, on either side we see
Dialogue: 0,0:01:34.25,0:01:36.87,Default,,0000,0000,0000,,roundels with figures of angels.
Dialogue: 0,0:01:36.87,0:01:39.64,Default,,0000,0000,0000,,What we noticed throughout\Nthe triptych is that
Dialogue: 0,0:01:39.64,0:01:42.14,Default,,0000,0000,0000,,all the figures have\Ninscriptions next to them
Dialogue: 0,0:01:42.14,0:01:43.58,Default,,0000,0000,0000,,indicating who they are.
Dialogue: 0,0:01:43.58,0:01:45.08,Default,,0000,0000,0000,,- [Man Narrator] I'm\Nstruck by just how fine
Dialogue: 0,0:01:45.08,0:01:47.40,Default,,0000,0000,0000,,the carving is look, for\Ninstance, on the right side
Dialogue: 0,0:01:47.40,0:01:49.98,Default,,0000,0000,0000,,of Mary's gown, you can\Nsee the fringes clearly
Dialogue: 0,0:01:49.98,0:01:53.13,Default,,0000,0000,0000,,and carefully rendered, as well\Nas the folds of the drapery.
Dialogue: 0,0:01:53.13,0:01:54.13,Default,,0000,0000,0000,,- [Lady Narrator] And also in the back
Dialogue: 0,0:01:54.13,0:01:55.98,Default,,0000,0000,0000,,of the throne behind Christ.
Dialogue: 0,0:01:55.98,0:01:57.81,Default,,0000,0000,0000,,- [Man Narrator]\NExtraordinary craftsmanship.
Dialogue: 0,0:01:57.81,0:02:00.20,Default,,0000,0000,0000,,- [Lady Narrator] Now, there\Nare five figures below Christ
Dialogue: 0,0:02:00.20,0:02:03.00,Default,,0000,0000,0000,,and they represent five of the apostles,
Dialogue: 0,0:02:03.00,0:02:04.90,Default,,0000,0000,0000,,the center one is St. Peter.
Dialogue: 0,0:02:04.90,0:02:06.71,Default,,0000,0000,0000,,- [Man Narrator] Who we\Ncan see grasping a scroll
Dialogue: 0,0:02:06.71,0:02:08.74,Default,,0000,0000,0000,,with his left hand and\Npointing up to Christ
Dialogue: 0,0:02:08.74,0:02:09.57,Default,,0000,0000,0000,,with his right.
Dialogue: 0,0:02:09.57,0:02:12.81,Default,,0000,0000,0000,,- [Lady Narrator] All the figures\Nstand on little platforms.
Dialogue: 0,0:02:12.81,0:02:14.38,Default,,0000,0000,0000,,- [Man Narrator] The only exception are in
Dialogue: 0,0:02:14.38,0:02:15.78,Default,,0000,0000,0000,,the upper registers of the wings,
Dialogue: 0,0:02:15.78,0:02:18.84,Default,,0000,0000,0000,,where we see warrior saints\Nwho stand on the ground plane
Dialogue: 0,0:02:18.84,0:02:22.11,Default,,0000,0000,0000,,below them are rondels and\Nthen again, standing figures.
Dialogue: 0,0:02:22.11,0:02:23.48,Default,,0000,0000,0000,,Here we see saints and martyrs.
Dialogue: 0,0:02:23.48,0:02:25.56,Default,,0000,0000,0000,,- [Lady Narrator] The\Nwarrior saints seem to have
Dialogue: 0,0:02:25.56,0:02:27.89,Default,,0000,0000,0000,,a classical pose to\Nthem, they seem to stand
Dialogue: 0,0:02:27.89,0:02:31.78,Default,,0000,0000,0000,,in a kind of contrapposto,\Nalthough the proportions
Dialogue: 0,0:02:31.78,0:02:33.93,Default,,0000,0000,0000,,of their bodies are a little\Nbit off, but they do have
Dialogue: 0,0:02:33.93,0:02:36.32,Default,,0000,0000,0000,,that sense of leaning to one\Nside of having their weight
Dialogue: 0,0:02:36.32,0:02:38.64,Default,,0000,0000,0000,,born on one side of having one knee bent
Dialogue: 0,0:02:38.64,0:02:41.24,Default,,0000,0000,0000,,of their hips a little bit out a sense
Dialogue: 0,0:02:41.24,0:02:42.88,Default,,0000,0000,0000,,of asymmetry to their bodies.
Dialogue: 0,0:02:42.88,0:02:44.41,Default,,0000,0000,0000,,- [Man Narrator] The ease to their stance,
Dialogue: 0,0:02:44.41,0:02:45.86,Default,,0000,0000,0000,,they seem quite relaxed.
Dialogue: 0,0:02:45.86,0:02:48.42,Default,,0000,0000,0000,,In fact, despite the\Nformality of the Deesis
Dialogue: 0,0:02:48.42,0:02:50.88,Default,,0000,0000,0000,,and of all of the figures,\Nthere's a sense of individuality
Dialogue: 0,0:02:50.88,0:02:53.21,Default,,0000,0000,0000,,to each figure that's being rendered,
Dialogue: 0,0:02:53.21,0:02:54.81,Default,,0000,0000,0000,,which has been achieved only because of
Dialogue: 0,0:02:54.81,0:02:56.60,Default,,0000,0000,0000,,the very fine nature of the carving.
Dialogue: 0,0:02:56.60,0:02:58.16,Default,,0000,0000,0000,,Let's go take a look at the back.
Dialogue: 0,0:02:58.16,0:03:00.00,Default,,0000,0000,0000,,The back is more shallowly carved.
Dialogue: 0,0:03:00.00,0:03:01.89,Default,,0000,0000,0000,,Here we see saints and church fathers.
Dialogue: 0,0:03:01.89,0:03:04.20,Default,,0000,0000,0000,,- [Lady Narrator] We have\Na symbolic representation
Dialogue: 0,0:03:04.20,0:03:05.85,Default,,0000,0000,0000,,of the garden of paradise.
Dialogue: 0,0:03:05.85,0:03:07.42,Default,,0000,0000,0000,,- [Man Narrator] It's a\Nmarvelous rendering with lots
Dialogue: 0,0:03:07.42,0:03:09.63,Default,,0000,0000,0000,,of detail and a real sense of the vertical
Dialogue: 0,0:03:09.63,0:03:12.37,Default,,0000,0000,0000,,as if the plants themselves\Non the ground plane
Dialogue: 0,0:03:12.37,0:03:13.68,Default,,0000,0000,0000,,are reaching up to heaven.
Dialogue: 0,0:03:13.68,0:03:15.08,Default,,0000,0000,0000,,- [Lady Narrator] Up toward the cross.
Dialogue: 0,0:03:15.08,0:03:16.55,Default,,0000,0000,0000,,- [Man Narrator] Which is long and elegant
Dialogue: 0,0:03:16.55,0:03:18.49,Default,,0000,0000,0000,,and has rosettes not only at the center
Dialogue: 0,0:03:18.49,0:03:20.04,Default,,0000,0000,0000,,but at its four points.
Dialogue: 0,0:03:20.04,0:03:21.52,Default,,0000,0000,0000,,- [Lady Narrator] We have cypress trees,
Dialogue: 0,0:03:21.52,0:03:23.70,Default,,0000,0000,0000,,with vines and circling them and grapes.
Dialogue: 0,0:03:23.70,0:03:26.19,Default,,0000,0000,0000,,- [Man Narrator] Leaning\Nin as if the cross itself
Dialogue: 0,0:03:26.19,0:03:27.67,Default,,0000,0000,0000,,was almost magnetic.
Dialogue: 0,0:03:27.67,0:03:29.81,Default,,0000,0000,0000,,- [Lady Narrator] A real sense\Nof the beauty and abundance
Dialogue: 0,0:03:29.81,0:03:32.44,Default,,0000,0000,0000,,of paradise of the promise
Dialogue: 0,0:03:32.44,0:03:34.89,Default,,0000,0000,0000,,of salvation of the\Npromise of eternal life
Dialogue: 0,0:03:34.89,0:03:38.33,Default,,0000,0000,0000,,and a sense that from\Nthe very cross itself
Dialogue: 0,0:03:38.33,0:03:41.39,Default,,0000,0000,0000,,from Christ's sacrifice, life blooms.
Dialogue: 0,0:03:41.39,0:03:43.29,Default,,0000,0000,0000,,- [Man Narrator] And\Nlook at the orderliness
Dialogue: 0,0:03:43.29,0:03:45.00,Default,,0000,0000,0000,,of the stars in the heavens.
Dialogue: 0,0:03:45.00,0:03:46.42,Default,,0000,0000,0000,,This is a sense of solemnity,
Dialogue: 0,0:03:46.42,0:03:48.95,Default,,0000,0000,0000,,a sense of beauty and a\Nsense of the spiritual
Dialogue: 0,0:03:48.95,0:03:51.96,Default,,0000,0000,0000,,in the natural world,\Nwhich we tend to think of
Dialogue: 0,0:03:51.96,0:03:56.11,Default,,0000,0000,0000,,in more modern terms but here\Nit is in the 10th century.
Dialogue: 0,0:03:56.11,0:03:58.69,Default,,0000,0000,0000,,(upbeat music)