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ARABIC SINGING
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00:00:09,000 --> 00:00:14,240
Heavenly vaults
but made by the earthly hand of man.
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00:00:17,120 --> 00:00:20,480
The imagined form of the universe.
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00:00:20,480 --> 00:00:25,400
A circle. No beginning, no end,
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00:00:25,400 --> 00:00:27,760
just wheeling eternity.
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00:00:30,040 --> 00:00:34,240
Domes had appeared in antiquity
and the medieval centuries
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00:00:34,240 --> 00:00:37,680
but never
with such compulsive grandeur.
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00:00:40,480 --> 00:00:45,680
In the 15th and 16th centuries,
domes appeared everywhere,
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constellations of them.
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00:00:49,000 --> 00:00:50,880
They were all
the work of mortal men,
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00:00:50,880 --> 00:00:55,000
but by the lights of philosophers,
the infinite capacity
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00:00:55,000 --> 00:01:00,920
of man's mind, made him a mortal
God, king of the lower beings.
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00:01:02,120 --> 00:01:04,840
Artists and architects,
East and West,
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00:01:04,840 --> 00:01:09,160
now began to be spoken of
as touched by a divine gift.
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00:01:10,400 --> 00:01:13,160
From domes they built
from Rome to Lahore,
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00:01:13,160 --> 00:01:16,120
were the crowning achievement
of this moment of supreme,
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00:01:16,120 --> 00:01:20,800
almost sacrilegious,
creative confidence.
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00:01:20,800 --> 00:01:23,080
So, why do we treat
those blossomings
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as though they were happening
on different cultural planets?
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00:01:27,240 --> 00:01:29,680
Well, I think you will know
the answer to that one.
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00:01:29,680 --> 00:01:32,640
It's that word "Renaissance",
isn't it?
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00:01:32,640 --> 00:01:37,520
Invariably attached to the word
Italian by those who coined it.
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00:01:37,520 --> 00:01:40,880
Oh, I know, every so often
it's extended north
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00:01:40,880 --> 00:01:45,360
and west to France and Germany,
and even, as far as literature was
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00:01:45,360 --> 00:01:48,680
concerned,
to the very shores of Albion.
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00:01:48,680 --> 00:01:53,440
But if we want to feel the pulse
of one of those great moments,
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the surge of inventiveness,
when civilisation bounded forward,
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we need to look
much further than that.
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00:02:01,400 --> 00:02:03,680
We need to look East.
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00:02:06,640 --> 00:02:10,520
The great flowering we call
the Renaissance owed much to Arab
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00:02:10,520 --> 00:02:14,520
scholars who recovered
the lost classics of antiquity,
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00:02:14,520 --> 00:02:17,200
of science, mathematics,
and philosophy.
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00:02:19,800 --> 00:02:23,800
Through the centuries that followed,
the outpouring of creativity
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00:02:23,800 --> 00:02:29,800
would flow both ways between
Islamic East and Christian West.
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00:02:31,160 --> 00:02:35,720
But for the imaginative freedom of
the artists themselves, the future
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00:02:35,720 --> 00:02:41,000
awaiting them, East or West, could
hardly have been more different.
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00:03:23,120 --> 00:03:25,680
Whenever something profound happens,
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00:03:25,680 --> 00:03:29,600
which propels civilisation forward,
it usually happens,
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00:03:29,600 --> 00:03:34,080
not through isolated sparks
of invention in one city or state
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00:03:34,080 --> 00:03:37,280
but through the spur of competition.
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00:03:39,800 --> 00:03:43,880
Competition across time,
going one better than the ancients,
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but competition across borders, too,
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00:03:47,360 --> 00:03:51,160
even when those borders
divided warring cultures.
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00:03:53,160 --> 00:03:57,560
So it was with the Renaissances
in the Muslim and Christian worlds.
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00:04:02,200 --> 00:04:06,320
1,000 miles apart,
in Rome and Istanbul,
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00:04:07,400 --> 00:04:13,640
two old men - Michelangelo
and the Turk Mimar Sinan
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00:04:13,640 --> 00:04:18,960
both veteran builders were
competing for the same prize.
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00:04:20,200 --> 00:04:23,040
To outdo what,
for almost a millennium,
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00:04:23,040 --> 00:04:27,840
had been regarded as the greatest
house of God in the world.
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00:04:27,840 --> 00:04:29,200
The Hagia Sophia.
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00:04:32,760 --> 00:04:34,960
Commissioned by the
Emperor Justinian
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00:04:34,960 --> 00:04:36,720
in the early sixth century,
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00:04:36,720 --> 00:04:40,280
the Byzantine basilica
was the greatest architectural
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00:04:40,280 --> 00:04:42,920
achievement of the early
Christian church.
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00:04:44,240 --> 00:04:46,520
"Its dome," wrote one scholar,
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00:04:46,520 --> 00:04:49,680
"seemed not to be
founded on masonry at all,
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"but suspended from heaven itself."
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00:04:54,120 --> 00:04:58,240
When the Ottoman Turks conquered
Constantinople in 1453,
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00:04:58,240 --> 00:05:03,680
instead of demolishing
the Hagia Sophia,
they converted it into a mosque.
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00:05:06,240 --> 00:05:08,480
But there was no escaping the fact
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00:05:08,480 --> 00:05:11,160
that this conversion
was superficial.
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00:05:11,160 --> 00:05:14,480
Islamic elements had merely
been bolted onto a church.
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00:05:17,320 --> 00:05:21,480
Somehow, Christianity
was always showing through.
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00:05:27,000 --> 00:05:30,480
There came a time when this partial
makeover wasn't good enough.
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Not, at any rate,
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for the greatest of the Ottoman
rulers Suleiman the Magnificent.
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His armies had cut a swathe
through Christian Europe.
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00:05:42,480 --> 00:05:45,400
So when he decided
to build a new mosque,
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00:05:45,400 --> 00:05:51,160
unencumbered by Christian leftovers,
he was making a point for Allah.
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00:05:51,160 --> 00:05:53,840
And he was making it directly
at his rivals,
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the holy Roman Emperor and the Pope.
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00:05:58,360 --> 00:06:02,440
Ironically, the master builder
ordered to create the great
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00:06:02,440 --> 00:06:05,680
Friday service mosque
had been born a Christian.
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00:06:06,760 --> 00:06:11,480
Mimar Sinan was a Janissary,
converted to Islam as a child
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00:06:11,480 --> 00:06:15,320
and conscripted into the crack
household troops of the Sultan.
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00:06:16,880 --> 00:06:21,040
Sinan rose through the ranks
to become the greatest military
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00:06:21,040 --> 00:06:22,800
engineer of his day.
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00:06:22,800 --> 00:06:26,280
But he always felt himself
destined for something greater
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00:06:26,280 --> 00:06:28,440
than bridges and fortresses.
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00:06:28,440 --> 00:06:32,560
"I wish to become an architect",
he told his biographer,
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00:06:32,560 --> 00:06:36,760
"so my perfect skills should
leave art to the world."
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00:06:38,600 --> 00:06:41,600
Suleiman's order was thrilling
but daunting.
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00:06:41,600 --> 00:06:46,400
A great dome surrounded by half
domes, four minarets,
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00:06:46,400 --> 00:06:50,640
a structure as immense
as the two-continent empire.
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00:06:50,640 --> 00:06:53,680
A mosque that would eclipse
Hagia Sophia.
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00:06:55,760 --> 00:06:59,960
The visible proclamation
of Islam's victory.
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00:07:11,600 --> 00:07:16,280
Sinan's great idea
is the indivisibility of space.
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The architectural proclamation
of the union of all believers.
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00:07:21,480 --> 00:07:24,920
Here, the space isn't
chopped up by forests of columns
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00:07:24,920 --> 00:07:27,360
and barriers of choir and altar.
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00:07:27,360 --> 00:07:30,280
Here, we are all in it together.
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Islam is a religion of law
and simple faith.
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Everything revealed to all.
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Islam means submission.
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And what we submit to here
is the light of true faith
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and of the Koran.
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Its record, the light of God's law
streaming through 249 windows,
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00:08:04,360 --> 00:08:08,520
drowning the space with radiance.
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00:08:13,120 --> 00:08:17,000
How weightless this all feels,
even the gigantic dome.
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That's all the more extraordinary
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00:08:18,680 --> 00:08:24,640
because it could only be supported
by absolutely titanic architecture.
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These huge four masonry piers.
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00:08:37,640 --> 00:08:41,360
Everything is, kind of, airy,
and light, and graceful,
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00:08:41,360 --> 00:08:48,680
but, you feel, behind it
is this hard mathematical
engineering mind of Sinan.
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00:08:51,440 --> 00:08:52,760
That achievement,
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something built on the ground
that is full of this kind of
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00:08:57,280 --> 00:09:02,040
planetary uplift
towards which our gaze is sent
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00:09:02,040 --> 00:09:04,160
over and over again
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is what makes this place one of the
most beautiful buildings on earth.
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00:09:12,160 --> 00:09:14,480
Sinan was not
working in isolation.
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00:09:16,880 --> 00:09:20,200
He knew very well, that in
Christian Europe architects had been
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00:09:20,200 --> 00:09:25,600
working to remake Christian
architecture on an imperial scale.
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00:09:25,600 --> 00:09:29,240
Turkish visitors to Rome,
just like their Italian counterparts
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00:09:29,240 --> 00:09:33,400
visiting Istanbul,
would have seen first hand
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00:09:33,400 --> 00:09:36,240
this east-west competition
of cultural one-upmanship.
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00:09:37,440 --> 00:09:40,560
Sinan had thought
obsessively about the long
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00:09:40,560 --> 00:09:44,720
history of Constantinople
and in Rome, too, artists
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00:09:44,720 --> 00:09:48,800
and architects found themselves
in a dialogue with the past.
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00:09:50,760 --> 00:09:53,480
The Western Renaissance
had been founded on the idea
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00:09:53,480 --> 00:09:57,160
of rebuilding the ruins
of the classical pagan past
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and re-consecrating them
for a new Christian age.
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The supreme test
would be St Peter's.
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The original basilica built
by Constantine
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in the fourth century was, by 1500,
in danger of collapse.
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00:10:14,680 --> 00:10:18,600
In 1505,
Pope Julius II shocked Rome
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00:10:18,600 --> 00:10:21,640
by deciding to demolish
the old basilica.
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00:10:23,240 --> 00:10:27,480
The visionary architect Donato
Bromante won the competition to
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00:10:27,480 --> 00:10:29,360
build its successor.
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00:10:31,040 --> 00:10:33,080
He got the job because
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a small, perfect building
caught the Pope's eye.
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This little gem is really a glimpse
inside the Renaissance mind,
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in particular, into Donato
Bromante's mind.
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It's a freestanding shrine to
St Peter in the cloister
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of the church of San Pietro
in Montorio, the place where
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St Peter himself was said to have
been crucified upside down.
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00:11:04,040 --> 00:11:06,200
Let's think about what the word
Renaissance means.
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00:11:06,200 --> 00:11:07,320
It means a rebirth.
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00:11:07,320 --> 00:11:12,040
And what was being reborn
was classical antiquity.
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00:11:12,040 --> 00:11:15,920
Bromante walked around
Rome making very careful
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00:11:15,920 --> 00:11:18,040
scholarly notes of what he saw.
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00:11:18,040 --> 00:11:20,160
What he saw were pagan temples.
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00:11:23,400 --> 00:11:27,720
So, what we have here
is the perfect classical form
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of one of those
ruined Roman temples.
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00:11:30,960 --> 00:11:33,040
A dome, sitting on a drum,
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00:11:33,040 --> 00:11:35,880
with a colonnaded
encirclement outside.
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00:11:38,600 --> 00:11:43,000
And, as such, what it does
is take those perfect forms,
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the hemisphere and wheeling circle,
the revolution of the planets,
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00:11:48,640 --> 00:11:52,480
like a great cosmic timepiece,
and says,
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00:11:52,480 --> 00:11:58,320
this, harmoniously, is how
the new sacred art is going to be.
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00:12:02,680 --> 00:12:06,240
There's something else on
Bromante's mind, as well.
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This is really a miniature size,
doll's house prototype
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for what he will want to happen
to St Peter's itself.
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Only one problem. This is so perfect
because it is so teeny-weeny.
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But his job was to put
Hagia Sophia in the shade.
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So, St Peter's
had to be very big indeed.
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00:12:37,600 --> 00:12:40,840
And that was going to be
a mighty challenge.
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Bromante began work in 1506 but he
didn't live to see his miniature
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St Peter's translated
into the big one.
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00:12:52,840 --> 00:12:55,800
But the greatest of his successors,
Michelangelo,
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00:12:55,800 --> 00:12:59,240
was determined to honour
the essence of Bromante's design.
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A central dome pierced by windows.
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00:13:04,600 --> 00:13:09,320
Michelangelo was in his 70s
when, as the Pope's third choice,
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00:13:09,320 --> 00:13:12,720
he got the job,
grumbling that he was doing it
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only for the glory of God.
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00:13:15,760 --> 00:13:19,040
Many of his greatest late
works like The Last Judgment in the
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Sistine Chapel were in their own way
titanic architectural
constructions,
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vast masses of figures,
pulled and pushed through space.
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Most of his drawings for the project
have been lost
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but a wooden model survives
to show us that his vision,
like Bromante's,
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00:13:40,360 --> 00:13:44,760
was of an enormous Christian temple,
a Greek cross.
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00:13:44,760 --> 00:13:48,880
No nave or fussy side chapels
distracting from the focal point of
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the great crowning dome, its windows
flooding the interior with light.
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The whole immense structure
supported on four giant piers.
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00:14:00,680 --> 00:14:04,800
It's astonishing to realise
that the two greatest monumental
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buildings in the world,
one for Islam
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and one for Christianity, were going
up at the same time in the 1550s.
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00:14:13,080 --> 00:14:18,200
And, on the same basic
building principles.
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00:14:18,200 --> 00:14:23,120
Many wonder did Mimar Sinan
and Michelangelo know
what each other was doing?
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00:14:25,000 --> 00:14:28,440
For Michelangelo, as for Sinan,
the challenge was how to make
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00:14:28,440 --> 00:14:33,040
the mighty engineering beautiful,
apparently seamless.
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He took his cue from Bromante,
a perfect elegant hemispherical
dome,
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an echo of ancient Rome.
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00:14:45,160 --> 00:14:47,320
But it was also somehow pure,
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Michelangelo's colossal strength
translated into flowing line.
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Michelangelo toiled away
into his 80s on this.
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Living in a cell-like room
in St Peter's, racked with pain,
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refusing pay, eating very little.
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February 24th, 1552,
was a great day.
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Both in the career of
the 76-year-old Michelangelo
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and in the long extraordinary
history of the biggest dome
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00:15:19,600 --> 00:15:22,640
in the world, the cupola on top
of St Peter's
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because it was the day when the
cornice of the drum was finished.
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00:15:28,800 --> 00:15:32,720
The cornice is
just below the area of the windows.
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00:15:32,720 --> 00:15:38,240
Essentially, it's the base which
made it impossible for anyone,
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00:15:38,240 --> 00:15:40,600
no matter what happened after
Michelangelo's death,
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00:15:40,600 --> 00:15:45,200
12 years later, to change its size,
but, more importantly,
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00:15:45,200 --> 00:15:50,000
it made it impossible to change
Michelangelo's beautiful vision.
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00:15:52,480 --> 00:15:55,640
To mark this great occasion,
what did Michelangelo do?
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00:15:55,640 --> 00:15:57,080
He threw a party.
200
00:15:57,080 --> 00:15:59,440
And it wasn't for the patricians
and the princes,
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00:15:59,440 --> 00:16:01,480
and the Cardinal and the Pope,
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00:16:01,480 --> 00:16:04,640
it was for the workmen
who made this possible.
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00:16:04,640 --> 00:16:07,200
It was all the sausage
you could possibly eat,
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00:16:07,200 --> 00:16:11,160
four enormous pork livers,
and what does this tell us
205
00:16:11,160 --> 00:16:15,200
about Michelangelo beyond
the lovely anecdote that
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00:16:15,200 --> 00:16:18,560
he felt a kind of fraternal
solidarity with the workmen?
207
00:16:18,560 --> 00:16:20,400
It tells us this.
208
00:16:20,400 --> 00:16:25,160
That Michelangelo, through all his
life, valued what his contemporaries
209
00:16:25,160 --> 00:16:32,280
called "Ars". Ars, means art,
in the old sense of hands-on skill.
210
00:16:32,280 --> 00:16:37,080
In his case, of an almost sublime
gift for technical engineering,
211
00:16:37,080 --> 00:16:39,640
for structural power.
212
00:16:39,640 --> 00:16:42,000
Knowing exactly
what should go where.
213
00:16:43,120 --> 00:16:45,560
But you weren't going to be
a great artist
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00:16:45,560 --> 00:16:48,720
unless you could also marry
that technical ability with what
215
00:16:48,720 --> 00:16:52,040
Michelangelo's contemporaries called
"ingenio" -
216
00:16:52,040 --> 00:16:55,560
the ability to conceive
a sublime idea.
217
00:16:55,560 --> 00:16:59,920
And that heroic idea
survived even his successors
218
00:16:59,920 --> 00:17:02,520
making the curve of the dome
much steeper.
219
00:17:05,040 --> 00:17:08,600
Michelangelo died 89 years old,
220
00:17:08,600 --> 00:17:11,160
but before he could see
the dome completed.
221
00:17:12,240 --> 00:17:17,760
The Greek cross temple idea struck
later popes as altogether too pagan.
222
00:17:17,760 --> 00:17:21,120
A big long nave was added,
the opposite of what Bromante
223
00:17:21,120 --> 00:17:23,200
and Michelangelo had wanted.
224
00:17:25,400 --> 00:17:30,960
But you still feel the essence
of his "ingenio" beneath that dome.
225
00:17:33,600 --> 00:17:38,120
Rising 120 metres above the ground,
over 40 metres diameter,
226
00:17:38,120 --> 00:17:41,120
the tallest dome
in the world, taller than
227
00:17:41,120 --> 00:17:47,080
the dome of the Suleiman mosque,
taller than the Hagia Sophia,
228
00:17:47,080 --> 00:17:50,720
The work of the man his biographers
called Il Divino.
229
00:17:50,720 --> 00:17:52,560
The divine one.
230
00:17:52,560 --> 00:17:56,640
No-one would have quite dared
to say that about Mimar Sinan.
231
00:17:57,760 --> 00:17:59,040
But in Europe,
232
00:17:59,040 --> 00:18:03,880
the cult of the superhero artist
listening to his own voice,
233
00:18:03,880 --> 00:18:07,880
which is to say the echo of God,
rather than his patron,
234
00:18:07,880 --> 00:18:09,000
had taken off.
235
00:18:12,920 --> 00:18:15,360
Their lives
were now for the first time
236
00:18:15,360 --> 00:18:20,600
since antiquity the subject
of page-turning biographies.
237
00:18:20,600 --> 00:18:24,640
As fascinating, if not more so,
than those of saints and kings.
238
00:18:24,640 --> 00:18:28,200
For, often,
they describe the work of sinners.
239
00:18:29,520 --> 00:18:33,400
And among the gallery
of self-described geniuses,
240
00:18:33,400 --> 00:18:36,400
no-one sinned quite like
the Florentine goldsmith
241
00:18:36,400 --> 00:18:37,640
Benvenuto Cellini.
242
00:18:38,920 --> 00:18:41,840
It was from house arrest for living
in sin with a boyfriend
243
00:18:41,840 --> 00:18:45,680
who shopped him to the authorities
that Cellini wrote
244
00:18:45,680 --> 00:18:49,920
his blood-soaked, chest beating
thriller of an autobiography
245
00:18:49,920 --> 00:18:53,440
which, aside from a catalogue
of murders, prison escapes,
246
00:18:53,440 --> 00:18:57,080
and gunfights,
was one long document of yearning
247
00:18:57,080 --> 00:19:00,200
to be treated
as a true artist genius,
248
00:19:00,200 --> 00:19:03,160
alongside his hero, Michelangelo.
249
00:19:04,400 --> 00:19:07,040
Michelangelo knew Cellini
and, in fact,
250
00:19:07,040 --> 00:19:10,720
on at least one occasion,
gave him a hearty endorsement,
251
00:19:10,720 --> 00:19:13,520
but as the world's best goldsmith,
252
00:19:13,520 --> 00:19:16,680
and, for Benvenuto,
that was not going to be enough.
253
00:19:18,880 --> 00:19:20,960
Only a bona fide genius,
after all,
254
00:19:20,960 --> 00:19:25,160
could have managed to turn
a golden salt cellar
255
00:19:25,160 --> 00:19:28,000
into a witty erotic sculpture.
256
00:19:28,000 --> 00:19:31,440
But the godly form of Poseidon
showed that Cellini
257
00:19:31,440 --> 00:19:34,240
could make heroic figures
with the best of them.
258
00:19:36,440 --> 00:19:37,640
In Florence,
259
00:19:37,640 --> 00:19:42,000
the bronze to beat was Donatello's
heroine from scripture, Judith,
260
00:19:42,000 --> 00:19:45,400
holding up the head
of the enemy general, Holofernes,
261
00:19:45,400 --> 00:19:46,880
she'd just beheaded.
262
00:19:49,520 --> 00:19:52,680
But Judith had been set up on the
Piazza Della Signoria,
263
00:19:52,680 --> 00:19:55,920
in front of the seat
of Florence's government
264
00:19:55,920 --> 00:19:59,880
to celebrate chasing
the Medici despots out of Florence.
265
00:19:59,880 --> 00:20:04,600
So when, almost a century later,
Cosimo de' Medici became duke,
266
00:20:04,600 --> 00:20:08,200
he wanted a statue which
would reverse all that,
267
00:20:08,200 --> 00:20:12,400
a manly hero beheading
a female monster.
268
00:20:13,640 --> 00:20:17,560
And Cellini, an alpha-male
who knew all about bloody killings,
269
00:20:17,560 --> 00:20:19,280
seized his chance.
270
00:20:20,520 --> 00:20:23,560
Donatello had cast Judith in pieces,
271
00:20:23,560 --> 00:20:26,960
Cellini promised to do
the Perseus in one casting.
272
00:20:26,960 --> 00:20:29,200
"Impossible," scoffed the duke.
273
00:20:29,200 --> 00:20:33,240
"The liquid bronze won't reach
all those extremities."
274
00:20:33,240 --> 00:20:37,720
"Watch me," said Cellini, who liked
talking back to his patrons.
275
00:20:44,640 --> 00:20:48,640
Cellini was playing for the highest
stakes imaginable,
276
00:20:48,640 --> 00:20:52,120
the casting of the Perseus was the
moment that was going to
277
00:20:52,120 --> 00:20:57,360
transform him from a goldsmith,
a craftsman, a mere artisan,
278
00:20:57,360 --> 00:21:03,520
to whom everybody condescended,
into an artist superhero -
279
00:21:03,520 --> 00:21:05,360
the real thing.
280
00:21:08,120 --> 00:21:12,240
Having set up everything just right,
suddenly as the melted bronze
281
00:21:12,240 --> 00:21:16,200
was going to be poured, Cellini
falls deathly ill
282
00:21:16,200 --> 00:21:18,400
of a terrible fever.
283
00:21:18,400 --> 00:21:22,000
So sick, so ill,
he's sure he's going to die.
284
00:21:24,600 --> 00:21:26,920
There's an incredible storm.
285
00:21:26,920 --> 00:21:30,000
Wind, rain, the roof
is partly removed,
286
00:21:30,000 --> 00:21:31,880
the cover of the furnace explodes.
287
00:21:35,480 --> 00:21:42,360
And most fatally, the temperature of
the molten bronze starts to lower.
288
00:21:42,360 --> 00:21:47,000
That word that nobody wants
to hear in a foundry - caking.
289
00:21:48,400 --> 00:21:52,560
The premature coagulation
of the alloy starts to be set.
290
00:21:52,560 --> 00:21:55,240
The assistants come running,
"maestro, maestro!"
291
00:21:55,240 --> 00:21:57,240
Everything is going pear-shaped.
292
00:21:57,240 --> 00:22:01,240
The bronze alloy will cool,
it won't run to all the extremities
293
00:22:01,240 --> 00:22:04,160
of the mould, and you end up
with this little, kind of,
294
00:22:04,160 --> 00:22:06,280
dwarfish homunculus.
295
00:22:06,280 --> 00:22:11,080
So Cellini jumps off his deathbed
and gets every conceivable
296
00:22:11,080 --> 00:22:14,400
kitchen utensil, plates, platters
all made of pewter -
297
00:22:14,400 --> 00:22:17,200
they're thrown on the fire.
298
00:22:20,480 --> 00:22:22,200
He's got his heat back.
299
00:22:23,320 --> 00:22:26,600
The alloy flows through
the mould everywhere it should.
300
00:22:30,000 --> 00:22:34,320
He has won the transformation
he so badly wanted.
301
00:22:40,520 --> 00:22:45,400
And Cellini has a wonderful,
vainglorious sentence
302
00:22:45,400 --> 00:22:47,200
for what happens.
303
00:22:47,200 --> 00:22:50,160
He said, "I revived a corpse."
304
00:22:52,760 --> 00:22:57,840
This is the mine-blowing masterpiece
the tourists don't notice,
305
00:22:57,840 --> 00:22:59,920
as they're too busy doing selfies
306
00:22:59,920 --> 00:23:03,560
with the copy of
Michelangelo's David nearby.
307
00:23:04,800 --> 00:23:08,280
But if they did give it a minute or
two, they'd see Cellini's outrageous
308
00:23:08,280 --> 00:23:13,640
miracle in bronze, hard metal
that somehow gushes hot blood
309
00:23:13,640 --> 00:23:16,560
and writhes with snaky horror.
310
00:23:16,560 --> 00:23:19,800
Perseus, head down,
armed raised in triumph
311
00:23:19,800 --> 00:23:23,680
like some sports champion
with the ultimate trophy.
312
00:23:27,560 --> 00:23:30,280
All the ancient
Perseuses and Medusas
313
00:23:30,280 --> 00:23:34,440
contrasts between beauteous hero
and grotesque gorgon -
314
00:23:34,440 --> 00:23:36,000
not here.
315
00:23:36,000 --> 00:23:40,440
Cellini has the genius crazy
idea of making them interchangeably,
316
00:23:40,440 --> 00:23:43,240
androgynously beautiful.
317
00:23:43,240 --> 00:23:46,240
Boy-girl, girl-boy,
both looking down.
318
00:23:46,240 --> 00:23:49,160
Even the hairdos aren't
actually that different -
319
00:23:49,160 --> 00:23:52,000
tousled curls or writhing snakes.
320
00:23:54,520 --> 00:23:57,960
Cellini is a sorcerer, an alchemist.
321
00:23:57,960 --> 00:24:01,800
He's made hard metal sweat
with the exertion of killing.
322
00:24:01,800 --> 00:24:04,400
He's turned that hot alloy
back into liquid,
323
00:24:04,400 --> 00:24:08,000
the blood coursing through
the hero's body,
324
00:24:08,000 --> 00:24:12,040
the blood pouring
from Medusa's sliced away neck.
325
00:24:14,320 --> 00:24:18,040
And, remember, even dead,
her look could kill you.
326
00:24:22,040 --> 00:24:24,840
So Cellini has one bit
of mischief to play out,
327
00:24:24,840 --> 00:24:29,120
at the expense of his hero,
Michelangelo, no less -
328
00:24:29,120 --> 00:24:33,040
positioning the sculpture
where it would seem it had caught
329
00:24:33,040 --> 00:24:34,920
David's attention.
330
00:24:34,920 --> 00:24:41,680
The petrifying gaze of Medusa turns
David into cold, lifeless stone.
331
00:24:49,040 --> 00:24:52,400
Cellini got away with
his stupendous work only
332
00:24:52,400 --> 00:24:57,520
because it flattered his Medici
patron's sense of self-importance.
333
00:24:57,520 --> 00:25:01,240
The great days of Florence are gone,
but a show of grandstanding art
334
00:25:01,240 --> 00:25:05,320
would postpone
insignificance indefinitely.
335
00:25:07,520 --> 00:25:09,160
And for rising empires,
336
00:25:09,160 --> 00:25:13,920
art and artists were indispensable
to the projection of their power.
337
00:25:18,480 --> 00:25:22,360
And this was as true in Muslim Asia
as in Christian Europe.
338
00:25:24,080 --> 00:25:28,040
The Mughal Empire in India
was a sponge for all the cultures
339
00:25:28,040 --> 00:25:29,920
it inherited and admired.
340
00:25:32,000 --> 00:25:35,640
And that tolerant,
curious openness to many influences,
341
00:25:35,640 --> 00:25:38,440
east and west
under the Emperor Akbar
342
00:25:38,440 --> 00:25:41,120
became a principal
of government.
343
00:25:43,760 --> 00:25:48,960
When he and his descendants rebuilt
the old ruined Hindu city of Lahore,
344
00:25:48,960 --> 00:25:51,600
they borrowed from Indian
temple style
345
00:25:51,600 --> 00:25:55,360
and from
Persian architecture.
346
00:25:55,360 --> 00:25:59,400
But most crucially, Akbar,
who had learned painting himself,
347
00:25:59,400 --> 00:26:03,240
made art the mirror
of his civilisation.
348
00:26:05,000 --> 00:26:07,320
"There are many that hate painting,"
Akbar said,
349
00:26:07,320 --> 00:26:09,000
"but such men I dislike."
350
00:26:12,280 --> 00:26:15,480
Akbar established workshops
of hundreds of artists,
351
00:26:15,480 --> 00:26:20,240
great factories of royal culture
that dwarfed the modest studios
352
00:26:20,240 --> 00:26:22,240
of western painters.
353
00:26:23,440 --> 00:26:28,240
Mughal art drew on Indian epics,
Persian poetry, calligraphy
354
00:26:28,240 --> 00:26:29,760
and profuse decoration,
355
00:26:29,760 --> 00:26:32,440
but it quickly
developed its own style,
356
00:26:32,440 --> 00:26:34,880
crowded with dashing incident,
357
00:26:34,880 --> 00:26:37,920
courtly elegance and sometimes
358
00:26:37,920 --> 00:26:40,400
under the influence of Western art
359
00:26:40,400 --> 00:26:43,120
seen by Akbar,
a flair for naturalism.
360
00:26:44,920 --> 00:26:48,840
Akbar himself, always at the centre
of the subject matter,
361
00:26:48,840 --> 00:26:51,400
paid personal attention to the work,
362
00:26:51,400 --> 00:26:56,080
regularly descending on workshops
and, to the terror of the artists,
363
00:26:56,080 --> 00:26:58,480
promoting or demoting painters,
364
00:26:58,480 --> 00:27:03,440
depending on how he liked
or disliked their latest work.
365
00:27:07,320 --> 00:27:10,200
And though like all the generations
of Mughal emperors
366
00:27:10,200 --> 00:27:12,760
and their successors,
he was embattled,
367
00:27:12,760 --> 00:27:15,880
sometimes literally
with his son, Jahangir,
368
00:27:15,880 --> 00:27:18,520
he bequeathed to him the sense
that the authority
369
00:27:18,520 --> 00:27:21,160
of the Mughal Empire
would be built on art
370
00:27:21,160 --> 00:27:24,600
as much as government
and military power.
371
00:27:24,600 --> 00:27:27,840
It would be seen to
contemporaries and posterity
372
00:27:27,840 --> 00:27:30,360
above all as a civilisation.
373
00:27:33,480 --> 00:27:36,800
Jahangir didn't really
need to be told by his father
374
00:27:36,800 --> 00:27:38,880
how important art was.
375
00:27:38,880 --> 00:27:41,360
In his own right,
he was the most intellectually
376
00:27:41,360 --> 00:27:44,160
and aesthetically
driven of the whole dynasty.
377
00:27:45,840 --> 00:27:50,000
Well, this is one of the great
masterpieces of Mughal painting.
378
00:27:50,000 --> 00:27:53,960
But it's also
an extraordinary masterpiece
379
00:27:53,960 --> 00:27:56,600
of imperial self-congratulation,
380
00:27:56,600 --> 00:28:00,720
even by the standards
of the World's Seizer,
381
00:28:00,720 --> 00:28:06,160
that's what Jahangir's name means,
the title he gave to itself.
382
00:28:06,160 --> 00:28:12,320
He's encircled with a golden halo
that's the size of a small planet,
383
00:28:12,320 --> 00:28:15,640
and it's giving off these
extraordinarily intense
384
00:28:15,640 --> 00:28:17,000
golden glimmer,
385
00:28:17,000 --> 00:28:20,720
so fierce that one of the little
putti, one of the cupids,
386
00:28:20,720 --> 00:28:24,680
who's been flown in directly
from European art,
387
00:28:24,680 --> 00:28:27,680
has to cover his eyes
with his hands
388
00:28:27,680 --> 00:28:32,040
lest his eyeballs be
scalded by the radiation
389
00:28:32,040 --> 00:28:34,720
of Jahangir's magnificence.
390
00:28:38,480 --> 00:28:43,040
The slightly implausible conceit
of the painting is that Jahangir
391
00:28:43,040 --> 00:28:49,160
prefers the company of a saintly
Muslim holy man to worldly rulers.
392
00:28:49,160 --> 00:28:51,920
The Sufi sheikh himself
has been painted
393
00:28:51,920 --> 00:28:55,320
with wonderful fustian simplicity -
394
00:28:55,320 --> 00:29:00,040
a brown coat,
perfect candyfloss whiskers there.
395
00:29:00,040 --> 00:29:04,720
He's receiving a present from
the hands of Jahangir himself,
396
00:29:04,720 --> 00:29:07,960
but of course the hands
don't actually touch.
397
00:29:07,960 --> 00:29:13,880
And there is something else going on
in in this extraordinary painting.
398
00:29:13,880 --> 00:29:18,400
It's also a picture about
the competition between Mughal art
399
00:29:18,400 --> 00:29:20,120
and European art,
400
00:29:20,120 --> 00:29:22,240
between East and West.
401
00:29:26,400 --> 00:29:30,880
There's an Ottoman sultan
who's shown with the Turkish turban
402
00:29:30,880 --> 00:29:34,440
and he's looking respectfully
in the direction of Jahangir,
403
00:29:34,440 --> 00:29:38,480
but most significant is that the
gesture he's making with his hands,
404
00:29:38,480 --> 00:29:42,960
like that, are the gesture
of Indian deferential respect.
405
00:29:42,960 --> 00:29:45,080
No Turk would ever have done that.
406
00:29:46,280 --> 00:29:48,560
But if the Ottoman
sultan is belittled
407
00:29:48,560 --> 00:29:50,480
by Jahangir's court painter,
408
00:29:50,480 --> 00:29:55,920
it says nothing compared to what
happens to King James I of England,
409
00:29:55,920 --> 00:29:58,280
who is placed below the
emperor's feet,
410
00:29:58,280 --> 00:30:02,520
wearing a look of what can only
be described as sour resentment
411
00:30:02,520 --> 00:30:06,400
at his low place
in the pecking order.
412
00:30:06,400 --> 00:30:09,840
And the artist who's doing
this and who was enjoying it all,
413
00:30:09,840 --> 00:30:15,320
has an exquisite self-portrait
at the bottom of the painting.
414
00:30:15,320 --> 00:30:19,120
His name is Bichitra. He's a Hindu,
we know that by the saffron robe.
415
00:30:19,120 --> 00:30:23,280
And it's a beautiful,
beautiful profile self-portrait.
416
00:30:23,280 --> 00:30:26,560
Exquisite details of the beard,
of the turban,
417
00:30:26,560 --> 00:30:28,560
of his painterly hand,
418
00:30:28,560 --> 00:30:33,160
almost as refined as the technique
he's used for the emperor himself.
419
00:30:35,160 --> 00:30:38,720
In fact, this is a doubly
reflective self-portrait -
420
00:30:38,720 --> 00:30:40,720
a miniature of a miniature,
421
00:30:40,720 --> 00:30:43,880
the one Bichitra is holding
and which tells us everything
422
00:30:43,880 --> 00:30:47,520
about the ambiguous
status of the Mughal artist.
423
00:30:47,520 --> 00:30:49,600
There are the signs of favour -
424
00:30:49,600 --> 00:30:53,080
an elephant and two horses which the
emperor has given his painter
425
00:30:53,080 --> 00:30:56,400
but on an understood condition.
426
00:30:56,400 --> 00:31:01,760
Ultimately for all that he's
slipstreaming behind the power
427
00:31:01,760 --> 00:31:05,080
and the glory of Jahangir,
he knows his place
428
00:31:05,080 --> 00:31:08,760
and that's defined by
the last detail in that tiny
429
00:31:08,760 --> 00:31:12,320
frame of him kneeling,
prostrating himself
430
00:31:12,320 --> 00:31:15,960
at the feet of the
Seizure of the World.
431
00:31:15,960 --> 00:31:18,000
And look where he is.
432
00:31:18,000 --> 00:31:21,520
He has literally backed
himself into a corner.
433
00:31:24,520 --> 00:31:26,480
For when all is said and done,
434
00:31:26,480 --> 00:31:30,440
these intricate beautiful
paintings are miniatures,
435
00:31:30,440 --> 00:31:34,520
book illustrations contained within
the framing page,
436
00:31:34,520 --> 00:31:38,240
and their enjoyment
confined to the emperor,
437
00:31:38,240 --> 00:31:41,360
his court and anyone
he sought to impress.
438
00:31:44,880 --> 00:31:48,720
Only once, albeit spectacularly,
439
00:31:48,720 --> 00:31:52,680
did Jahangir make art visible
to all of his subjects.
440
00:31:53,800 --> 00:31:58,440
On the outer wall of Lahore Fort,
Jahangir set a vast display
441
00:31:58,440 --> 00:32:04,360
of mosaic tiles, creating
the biggest mural in the world.
442
00:32:04,360 --> 00:32:08,160
70 metres high and 450 metres long.
443
00:32:11,360 --> 00:32:15,920
Kashi Kari - the name for this
mosaic technique came from Persia,
444
00:32:15,920 --> 00:32:20,040
but as with all Mughal art,
it's a glorious hybrid.
445
00:32:22,160 --> 00:32:25,640
There are angels from Europe,
446
00:32:25,640 --> 00:32:28,600
Chinese dragons,
447
00:32:28,600 --> 00:32:31,360
royal hunts
and epic battles.
448
00:32:32,880 --> 00:32:36,200
History, mythology,
birds and beasts,
449
00:32:36,200 --> 00:32:39,920
the whole world Jahangir
revelled in is on display.
450
00:32:46,640 --> 00:32:49,640
In effect, it's a
huge vertical book,
451
00:32:49,640 --> 00:32:53,160
the one truly open book in all of
Mughal art.
452
00:32:53,160 --> 00:32:57,800
Readable by all Jahangir's subjects
passing through the gates
453
00:32:57,800 --> 00:33:00,360
of Lahore Fort.
454
00:33:00,360 --> 00:33:03,520
Or, is it?
455
00:33:03,520 --> 00:33:06,440
Despite the sheer
boldness of the gesture,
456
00:33:06,440 --> 00:33:08,760
the link forged between
ruler and subjects
457
00:33:08,760 --> 00:33:12,040
is undermined
by vertical remoteness.
458
00:33:13,640 --> 00:33:17,240
As your eye travels up,
the brilliant pages
459
00:33:17,240 --> 00:33:19,640
swim in and out of vision
460
00:33:19,640 --> 00:33:23,240
until they disappear
into the great city.
461
00:33:26,440 --> 00:33:31,040
Ultimately, even the
experimentally-minded Jahangir
462
00:33:31,040 --> 00:33:34,440
couldn't conceive of public art
that was truly accessible
463
00:33:34,440 --> 00:33:36,640
to his subjects.
464
00:33:36,640 --> 00:33:39,680
The Mughals with their
fastidious connoisseurship
465
00:33:39,680 --> 00:33:42,360
could barely have
imagined the revolution
466
00:33:42,360 --> 00:33:45,960
in looking that was
unfolding in Western art.
467
00:33:52,840 --> 00:33:54,560
By the 17th century,
468
00:33:54,560 --> 00:33:57,320
European images were busy exploding
469
00:33:57,320 --> 00:34:00,200
through any kind
of containing frame.
470
00:34:00,200 --> 00:34:03,600
The body slammed the beholder
with great, meaty,
471
00:34:03,600 --> 00:34:08,360
muscular life-size or larger
figures, all deployed by artists who
472
00:34:08,360 --> 00:34:13,360
re-wrote the rules about decorum
or threw them away altogether.
473
00:34:16,880 --> 00:34:21,240
And this liberation of the senses
began in the place you'd
474
00:34:21,240 --> 00:34:26,200
least expect, the Rome that had
been remade by Michelangelo
475
00:34:26,200 --> 00:34:28,760
and the Counter-Reformation popes.
476
00:34:31,760 --> 00:34:33,960
There came a point
when the Roman Church
477
00:34:33,960 --> 00:34:37,040
would be
a victim of its own success.
478
00:34:37,040 --> 00:34:39,840
All that wealth, all that power,
the biggest basilica
479
00:34:39,840 --> 00:34:41,760
with the biggest dome in the world,
480
00:34:41,760 --> 00:34:44,920
and you know that sooner or later,
someone's going to come along
481
00:34:44,920 --> 00:34:49,400
and say, "Remember the simplicity
of Christ."
482
00:34:49,400 --> 00:34:54,200
"Remember Christ's mission
to teach and preach to the poor."
483
00:34:54,200 --> 00:34:56,680
And then there'd be a second great
point that the whole
484
00:34:56,680 --> 00:35:00,600
idea of the Christian message
is that the compassion of God
485
00:35:00,600 --> 00:35:06,840
lay in giving his own son
the form of human flesh and blood.
486
00:35:06,840 --> 00:35:09,120
Now, you put those two things
together,
487
00:35:09,120 --> 00:35:12,560
poverty and a physical presence
of flesh and blood,
488
00:35:12,560 --> 00:35:16,120
and you know there
has to be a new kind of art.
489
00:35:16,120 --> 00:35:18,680
Only problem is,
nobody could do that
490
00:35:18,680 --> 00:35:21,000
since the death
of Michelangelo,
491
00:35:21,000 --> 00:35:25,640
and then along comes
a second Michelangelo.
492
00:35:29,240 --> 00:35:32,880
We shouldn't get carried away,
but isn't it striking that the
493
00:35:32,880 --> 00:35:36,640
rule breakers
in art were often law breakers?
494
00:35:36,640 --> 00:35:40,360
Like Cellini,
Michelangelo Merisi da Caravaggio
495
00:35:40,360 --> 00:35:44,680
was a bisexual murderer
with major anger management issues,
496
00:35:44,680 --> 00:35:49,200
foul-mouthed, short fused,
in and out of jail.
497
00:35:53,200 --> 00:35:57,160
But if he acted like a devil,
he painted like an angel.
498
00:35:58,240 --> 00:36:01,720
And patrons who suddenly wanted
startlingly raw
499
00:36:01,720 --> 00:36:05,680
realistic images of ordinary people,
many of them poor,
500
00:36:05,680 --> 00:36:09,080
to persuade themselves they were
reviving Christ's gospel to the
501
00:36:09,080 --> 00:36:12,000
humble, couldn't get enough of him.
502
00:36:15,080 --> 00:36:18,040
This is the church
of Sant'Agostino in Rome
503
00:36:18,040 --> 00:36:23,560
and this just may
be my favourite Caravaggio,
504
00:36:23,560 --> 00:36:25,160
the Madonna of Loreto.
505
00:36:27,320 --> 00:36:29,720
Even by the standards
of Christian legends,
506
00:36:29,720 --> 00:36:31,960
this one is a bit of a stretch.
507
00:36:33,400 --> 00:36:36,200
To escape destruction
in the 13th century,
508
00:36:36,200 --> 00:36:38,720
the House of the Virgin
was supposed to have been
509
00:36:38,720 --> 00:36:42,440
airlifted out of the Holy Land,
touching down in the Italian
510
00:36:42,440 --> 00:36:46,200
town of Loreto, where it became
a place of pilgrimage.
511
00:36:49,000 --> 00:36:53,480
Every so often, the Virgin herself
would show up for the pilgrims.
512
00:36:54,880 --> 00:36:57,520
But this is no provincial scene,
is it?
513
00:36:57,520 --> 00:37:00,680
Its appealing doorway
in the backstreets of Rome,
514
00:37:00,680 --> 00:37:03,880
the doorstep drama is lit
by a great wash of light.
515
00:37:05,560 --> 00:37:08,200
But the reason why
one of the Caravaggio's critics
516
00:37:08,200 --> 00:37:12,200
said the painting caused a great
"schiamazzo", a cackle,
517
00:37:12,200 --> 00:37:15,120
was because so much flesh
was on display.
518
00:37:17,160 --> 00:37:19,760
This is a barefoot Madonna,
not the spun sugar version
519
00:37:19,760 --> 00:37:23,600
of conventional painting,
but of real-life body,
520
00:37:23,600 --> 00:37:26,040
probably Caravaggio's girlfriend.
521
00:37:26,040 --> 00:37:29,240
And the adoration dwells
on that sumptuous form -
522
00:37:29,240 --> 00:37:33,960
the heavy lids,
the glossy ropes of hair.
523
00:37:33,960 --> 00:37:39,840
And the naked Christ Child is
a squirmy bambino, fat with pasta.
524
00:37:44,040 --> 00:37:47,040
And the poor pilgrim couple
who kneel before them
525
00:37:47,040 --> 00:37:48,880
are made bodily present too -
526
00:37:48,880 --> 00:37:51,480
that big rump of the man,
527
00:37:51,480 --> 00:37:54,320
those calloused
feet from the long walk.
528
00:37:57,960 --> 00:38:02,640
As in all the greatest Caravaggio's,
these big fleshy figures
529
00:38:02,640 --> 00:38:07,400
are uncomfortably,
almost disturbingly, close to us.
530
00:38:07,400 --> 00:38:10,160
Caravaggio has broken right
through the fourth wall
531
00:38:10,160 --> 00:38:15,160
and he's done it in the name of
making the Christian message true.
532
00:38:15,160 --> 00:38:18,080
By which he means physically true.
533
00:38:18,080 --> 00:38:21,720
We don't get a kind of remote
heavenly apparition that's granted
534
00:38:21,720 --> 00:38:25,240
to us by the intercession
of some priest.
535
00:38:25,240 --> 00:38:29,520
No, we are physically in the company
of the Madonna and Child,
536
00:38:29,520 --> 00:38:34,040
just as much as if we are walking
down the street and look round
537
00:38:34,040 --> 00:38:37,000
and there they are,
standing in a doorway.
538
00:38:37,000 --> 00:38:43,240
And this, of course, is
a breach in every kind of decorum,
539
00:38:43,240 --> 00:38:45,560
social as well as aesthetic.
540
00:38:48,360 --> 00:38:52,600
But breaking rules was what
this generation of Western artists
541
00:38:52,600 --> 00:38:54,600
was all about.
542
00:38:54,600 --> 00:38:57,840
And the closer they got both
to God and to kings,
543
00:38:57,840 --> 00:39:01,240
paradoxically, the more freedoms
they claimed.
544
00:39:02,400 --> 00:39:07,000
And one of the most spectacular
of those rule breakers was a woman
545
00:39:07,000 --> 00:39:10,200
in her 40s
when she painted this in England -
546
00:39:10,200 --> 00:39:12,160
Artemisia Gentileschi.
547
00:39:14,040 --> 00:39:17,080
Well, I love the fact that this
extraordinary picture is in the
548
00:39:17,080 --> 00:39:22,920
Royal Collection because in its way
it too is a royal proclamation.
549
00:39:22,920 --> 00:39:28,520
If artists of this generation made
the claim that they were sovereigns
550
00:39:28,520 --> 00:39:32,920
of the realm of art, this picture
does something much more ambitious.
551
00:39:32,920 --> 00:39:36,400
It says that claim was not
only for men,
552
00:39:36,400 --> 00:39:39,960
women, too, can be sovereigns
of painting.
553
00:39:42,440 --> 00:39:47,200
Only a woman could have done
this particular painting
554
00:39:47,200 --> 00:39:54,400
as a combination of a self-portrait
and the allegory of painting.
555
00:39:54,400 --> 00:39:57,560
And the allegory comes from
a book written by a man
556
00:39:57,560 --> 00:39:59,000
called Cesare Ripa.
557
00:39:59,000 --> 00:40:03,080
He says the image of painting
should have black hair, should be
558
00:40:03,080 --> 00:40:06,160
slightly dishevelled with a passion
and engagement of painting.
559
00:40:07,600 --> 00:40:11,200
Painting should wear a gold
chain round her neck...
560
00:40:11,200 --> 00:40:13,040
There you see the gold chain.
561
00:40:13,040 --> 00:40:18,200
..with a mask at the end of it
indicating imitation or mimicry.
562
00:40:18,200 --> 00:40:22,080
She should hold a brush in one hand
and a palate in the other.
563
00:40:22,080 --> 00:40:24,240
And Artemisia does all that,
564
00:40:24,240 --> 00:40:26,600
but there's one detail that is
missing.
565
00:40:26,600 --> 00:40:30,520
It's there in what Ripa says
the allegory of painting should be
566
00:40:30,520 --> 00:40:34,160
and it's a bandage or a gag which
is going to go around the mouth,
567
00:40:34,160 --> 00:40:36,160
because painting doesn't speak.
568
00:40:37,920 --> 00:40:41,240
Now, men, of course, thought women
shouldn't speak,
569
00:40:41,240 --> 00:40:43,920
certainly until they were spoken to.
570
00:40:43,920 --> 00:40:46,320
But Artemisia Gentileschi,
who had been raped
571
00:40:46,320 --> 00:40:49,080
by one of her father's
assistants the age of 18,
572
00:40:49,080 --> 00:40:53,040
was determined that
nobody was going to shut her up,
573
00:40:53,040 --> 00:40:54,920
either in life or in her work.
574
00:40:56,000 --> 00:40:59,400
And what she does here is of
course liberate the figure
575
00:40:59,400 --> 00:41:02,680
from painting to a kind of
conventional stereotype,
576
00:41:02,680 --> 00:41:04,600
the stereotype in Ripa's book,
577
00:41:04,600 --> 00:41:09,280
and turn it into something like
a living physical force.
578
00:41:09,280 --> 00:41:11,600
Look at the twist of her body.
579
00:41:11,600 --> 00:41:14,600
The twist of her body
is so that she can paint.
580
00:41:14,600 --> 00:41:17,520
And what she's painting is
the painting we're looking at.
581
00:41:21,120 --> 00:41:24,480
The whole thing is unapologetic.
582
00:41:24,480 --> 00:41:27,360
"Look at me, I'm a professional.
583
00:41:27,360 --> 00:41:30,720
"I'm in the business,
I'm in the throes of creativity
584
00:41:30,720 --> 00:41:33,360
"and what is wrong with that?"
585
00:41:35,880 --> 00:41:38,840
Artemisia's breakthrough
self-portrait was bought
586
00:41:38,840 --> 00:41:45,040
by none other than King Charles I,
that great stickler for protocol
587
00:41:45,040 --> 00:41:47,840
but also a great lover of art.
588
00:41:48,960 --> 00:41:53,240
And there was no court in Europe
more obsessed with protocol
589
00:41:53,240 --> 00:41:56,360
than that of Philip IV in Spain.
590
00:41:56,360 --> 00:42:00,080
But right at the heart of that court
was the greatest of artistic
591
00:42:00,080 --> 00:42:03,280
freethinkers, Diego Velazquez.
592
00:42:03,280 --> 00:42:06,120
As official painter to the king,
Velazquez produced
593
00:42:06,120 --> 00:42:09,000
images of the royals on demand,
594
00:42:09,000 --> 00:42:13,440
though always with unprecedented
sparkling naturalism -
595
00:42:13,440 --> 00:42:17,040
the human showing through
the fancy dress.
596
00:42:17,040 --> 00:42:19,520
And on one occasion at least,
despite,
597
00:42:19,520 --> 00:42:22,720
or maybe because of the
strength of his position,
598
00:42:22,720 --> 00:42:27,640
he committed an extraordinary
act of painterly lese-majeste.
599
00:42:30,160 --> 00:42:33,600
Towards the end of his career
in 1656,
600
00:42:33,600 --> 00:42:36,880
Velazquez he produced a picture,
this one, Las Meninas,
601
00:42:36,880 --> 00:42:41,800
The Maids Of Honour, which
more than any other before or since
602
00:42:41,800 --> 00:42:48,960
stakes the most ambitious claim
for the power of art and the artist.
603
00:42:48,960 --> 00:42:52,360
It's a painting which
reverses all the usual
604
00:42:52,360 --> 00:42:57,800
expectations of the relationship
between patron and artist.
605
00:42:57,800 --> 00:43:02,640
In this picture, it is the painter
thoughtfully looking at us
606
00:43:02,640 --> 00:43:05,480
who is truly sovereign.
607
00:43:05,480 --> 00:43:08,720
Anyone who comes into the presence
of this masterpiece,
608
00:43:08,720 --> 00:43:13,480
or as it really feels,
steps across the threshold
609
00:43:13,480 --> 00:43:16,800
of that huge work,
feels him or herself
610
00:43:16,800 --> 00:43:22,080
uncannily in presence of all
the characters who populate it.
611
00:43:23,440 --> 00:43:28,040
That thoughtful painter,
the little princess,
612
00:43:28,040 --> 00:43:30,200
her maids of honour,
613
00:43:30,200 --> 00:43:31,800
the dwarfs,
614
00:43:31,800 --> 00:43:34,000
even that slumbering dog.
615
00:43:35,320 --> 00:43:40,880
It is an absolute triumph
of illusionistic painting.
616
00:43:40,880 --> 00:43:42,640
Something else as well...
617
00:43:44,000 --> 00:43:48,360
..Velazquez is the most
cerebral artist of his generation
618
00:43:48,360 --> 00:43:50,680
and this is a huge brainteaser.
619
00:43:52,800 --> 00:43:57,640
There's a giant in the room
and it's that epic sized canvas
620
00:43:57,640 --> 00:43:59,400
but what's on it?
621
00:43:59,400 --> 00:44:03,080
A painting of the little princess,
622
00:44:03,080 --> 00:44:06,400
or of Philip VI
and his queen?
623
00:44:07,840 --> 00:44:10,600
Is that mirror showing
a reflection of the royal couple
624
00:44:10,600 --> 00:44:13,080
painted on Velazquez's canvas?
625
00:44:14,880 --> 00:44:18,960
Or the real king and queen who
are actually present in the room?
626
00:44:20,240 --> 00:44:23,720
Is the sudden attentiveness
the beginnings of a curtsy on the
627
00:44:23,720 --> 00:44:27,600
part of the maid because the royal
couple have come into the studio...
628
00:44:29,200 --> 00:44:32,280
..or are just departing?
629
00:44:32,280 --> 00:44:34,960
It's full of games that play
with the mind,
630
00:44:34,960 --> 00:44:37,880
it's full of complicated layers
of meaning,
631
00:44:37,880 --> 00:44:41,720
all of which build into a meditation
on which it is to paint.
632
00:44:41,720 --> 00:44:45,400
And they are so fiendishly
ingenious that they have challenged
633
00:44:45,400 --> 00:44:49,360
generation after generation
of writers and commentators
634
00:44:49,360 --> 00:44:52,960
and artists to nail its ultimate
meaning. And do you know?
635
00:44:52,960 --> 00:44:58,080
I don't think anyone has yet
quite got to the bottom of it.
636
00:44:58,080 --> 00:45:02,240
But if presumptuously I were to
tell you in a sentence
637
00:45:02,240 --> 00:45:04,520
what I think it's about,
638
00:45:04,520 --> 00:45:09,280
I think it's about
who or what, in every sense,
639
00:45:09,280 --> 00:45:12,120
controls the way we look.
640
00:45:14,200 --> 00:45:18,600
The look we put on
when we know we're being watched,
641
00:45:18,600 --> 00:45:23,440
our body language when we suddenly
have to defer to authority,
642
00:45:23,440 --> 00:45:26,800
the concentrated look of the
artist glancing from subject
643
00:45:26,800 --> 00:45:29,280
to picture and back again.
644
00:45:29,280 --> 00:45:32,720
There's really only one sovereign
of staring here
645
00:45:32,720 --> 00:45:34,800
and it's not the king.
646
00:45:34,800 --> 00:45:39,240
He only exists in the picture
courtesy of the painter.
647
00:45:39,240 --> 00:45:43,760
The royal ego is shrunk and
contained inside that small frame
648
00:45:43,760 --> 00:45:45,760
at the back of the room.
649
00:45:45,760 --> 00:45:48,400
A reversal of roles that
was provocative in he West
650
00:45:48,400 --> 00:45:50,600
and inconceivable in he East,
651
00:45:50,600 --> 00:45:54,600
where anything so cheeky would
get you in the deepest trouble.
652
00:45:55,920 --> 00:45:59,320
And taking liberties
with conventions didn't stop
653
00:45:59,320 --> 00:46:02,400
when monarchs went
missing from the picture.
654
00:46:04,760 --> 00:46:10,360
The Dutch Republic fought Spain to
a standstill to secure its freedom.
655
00:46:10,360 --> 00:46:14,280
But independence often
goes along with civic myths
656
00:46:14,280 --> 00:46:18,040
and in Holland, the rich
burgers of Amsterdam like to portray
657
00:46:18,040 --> 00:46:20,800
themselves as vigilant
militia companies,
658
00:46:20,800 --> 00:46:24,880
ready at the drop of a hat
to go off to war.
659
00:46:24,880 --> 00:46:27,920
Though, when they commissioned group
portraits, what they actually
660
00:46:27,920 --> 00:46:31,760
wanted for their money
was just a bunch of likenesses.
661
00:46:31,760 --> 00:46:35,480
And if there were a lot of them,
the artist elasticated the format
662
00:46:35,480 --> 00:46:37,960
accordingly to get everyone in.
663
00:46:38,960 --> 00:46:41,680
But then there was Rembrandt.
664
00:46:41,680 --> 00:46:44,840
And what he thought his militia
patrons might like more than
665
00:46:44,840 --> 00:46:49,680
a collection of the overdressed
was an action portrait of an ethos.
666
00:46:53,440 --> 00:46:55,960
The actual title of the picture is
667
00:46:55,960 --> 00:46:59,920
The March Out Of The Company Of
Frans Banning Cocq
668
00:46:59,920 --> 00:47:01,760
and, boy, are they marching.
669
00:47:01,760 --> 00:47:04,440
They're on the point
of beginning that march
670
00:47:04,440 --> 00:47:08,800
and the idea of this painting
is, above all, energy.
671
00:47:08,800 --> 00:47:13,560
Dynamism, vitality, that's what
Rembrandt wanted to celebrate
672
00:47:13,560 --> 00:47:14,760
in Amsterdam.
673
00:47:18,160 --> 00:47:23,760
It is propulsive. It moves through
that frame into our own space.
674
00:47:26,000 --> 00:47:30,200
Rembrandt has used his entire
box of tricks to make this
675
00:47:30,200 --> 00:47:35,240
feel like a moving image,
like a movie, in fact.
676
00:47:35,240 --> 00:47:38,040
If you look at the kind
of foreshortened hand,
677
00:47:38,040 --> 00:47:42,600
the order that's being given
is happening in his body language.
678
00:47:43,640 --> 00:47:45,760
Look at the foreshortened spear.
679
00:47:45,760 --> 00:47:49,480
You can see his rather
glamorously dressed lieutenant
680
00:47:49,480 --> 00:47:51,640
in that gorgeous yellow coat
681
00:47:51,640 --> 00:47:54,800
is just on the point of moving
as well.
682
00:47:54,800 --> 00:47:58,800
Everything is coming at us.
683
00:47:58,800 --> 00:48:01,400
And it also has a soundtrack.
684
00:48:01,400 --> 00:48:03,880
Everything is exploding.
685
00:48:03,880 --> 00:48:06,000
SHOUTING
686
00:48:06,000 --> 00:48:09,280
A gun is being fired.
GUNSHOTS
687
00:48:09,280 --> 00:48:12,200
A drum is being beaten.
DRUM ROLLS
688
00:48:12,200 --> 00:48:14,680
A dog is barking.
DOG BARKS
689
00:48:14,680 --> 00:48:18,160
Take a look at Frans Banning Cocq's
perfect little mouth
690
00:48:18,160 --> 00:48:20,680
and it's open.
He is giving that order.
691
00:48:23,520 --> 00:48:26,200
A little girl,
maybe the mascot of the company,
692
00:48:26,200 --> 00:48:28,840
is running into the brilliant light.
693
00:48:31,680 --> 00:48:34,760
Some people have trouble with this
painting and have thought
694
00:48:34,760 --> 00:48:38,320
of it for centuries
as a kind of garish chaos,
695
00:48:38,320 --> 00:48:40,640
too much, too much going on.
696
00:48:40,640 --> 00:48:46,880
But Rembrandt being Rembrandt,
he stops just this side of chaos.
697
00:48:46,880 --> 00:48:49,720
That amidst this
extraordinary kind of melee
698
00:48:49,720 --> 00:48:54,320
is an incredibly strong
compositional armature
699
00:48:54,320 --> 00:48:58,480
and it's an armature
of two parallel lines.
700
00:48:58,480 --> 00:49:02,880
One angle of the parallelogram
is made by that rhythm of the lines,
701
00:49:02,880 --> 00:49:05,760
of the spear, the gun,
the partisan.
702
00:49:07,560 --> 00:49:12,640
On the other hand, it's made
by the baton of the captain,
703
00:49:12,640 --> 00:49:17,360
the musket, the gorgeous flag
of the Kloveniers.
704
00:49:18,880 --> 00:49:24,600
And if you think about it, those
two lines converge at an arrowhead
705
00:49:24,600 --> 00:49:28,120
and the arrowhead
appropriately is the commander.
706
00:49:31,920 --> 00:49:37,120
The Night Watch is a perfect
miracle of dynamism
707
00:49:37,120 --> 00:49:39,080
and discipline together.
708
00:49:40,840 --> 00:49:45,760
And that's the living ethos that
Rembrandt is trying to communicate.
709
00:49:45,760 --> 00:49:48,080
In his boiling brain,
710
00:49:48,080 --> 00:49:52,320
he reckons he's doing
the overstuffed patricians a favour.
711
00:49:52,320 --> 00:49:55,360
They no longer
pose and preen, they act.
712
00:49:56,760 --> 00:50:01,080
And the fact that it's a painting
about freedom with order
713
00:50:01,080 --> 00:50:05,480
makes it an extraordinary moment,
not just in the history
714
00:50:05,480 --> 00:50:09,880
of painting, but it's a moment
in the history of civilisation, too.
715
00:50:09,880 --> 00:50:12,720
Amsterdam is beating
not only the drum,
716
00:50:12,720 --> 00:50:14,800
but its own chest, saying,
717
00:50:14,800 --> 00:50:20,040
"We can be free, but we are
also strong and disciplined."
718
00:50:20,040 --> 00:50:25,200
This is the visual declaration
of republican liberty.
719
00:50:25,200 --> 00:50:28,520
Watch out, art,
but watch out, the world.
720
00:50:31,160 --> 00:50:35,560
Nothing, you'd suppose, could be
further from the unleashed energy
721
00:50:35,560 --> 00:50:39,440
that produced the Night Watch
than the controlled refinement
722
00:50:39,440 --> 00:50:42,040
of Indian Mughal art.
723
00:50:42,040 --> 00:50:44,920
But Rembrandt, who had
a lifelong fascination
724
00:50:44,920 --> 00:50:49,320
with non-European cultures,
was in love with them.
725
00:50:49,320 --> 00:50:53,880
In the 1650s he began to draw
his version of miniatures,
726
00:50:53,880 --> 00:50:56,960
which had found their way
to Amsterdam probably as copies
727
00:50:56,960 --> 00:50:59,880
through he East India Company.
728
00:50:59,880 --> 00:51:04,400
Rembrandt responded to the
miniatures with his own graceful
729
00:51:04,400 --> 00:51:09,160
pen and ink variations,
all rich with what he loved best -
730
00:51:09,160 --> 00:51:10,480
human interest.
731
00:51:14,440 --> 00:51:16,760
A group of Sufi sheiks.
732
00:51:20,680 --> 00:51:22,640
The bond between father and son,
733
00:51:22,640 --> 00:51:24,520
a favourite Rembrandt theme.
734
00:51:26,920 --> 00:51:29,800
Some of the miniatures
he copied still exist
735
00:51:29,800 --> 00:51:32,160
and they make a fascinating contrast
736
00:51:32,160 --> 00:51:33,640
with Rembrandt's versions.
737
00:51:34,720 --> 00:51:38,120
This is a painting of the Emperors
Akbar and Jahangir.
738
00:51:38,120 --> 00:51:40,040
Rembrandt keeps the profile,
739
00:51:40,040 --> 00:51:43,240
but ditches the formalism
for humane naturalism,
740
00:51:43,240 --> 00:51:45,560
the rulers become characters.
741
00:51:46,920 --> 00:51:49,440
Father and son look each other
in the eye
742
00:51:49,440 --> 00:51:52,320
as Jahangir hands Akbar a book.
743
00:51:54,760 --> 00:51:59,520
A Mughal portrait of Jahangir's
son, Shah Jahan On Horseback,
744
00:51:59,520 --> 00:52:02,240
is still and poised.
745
00:52:04,040 --> 00:52:06,880
But Rembrandt adds movement
and action.
746
00:52:09,920 --> 00:52:12,280
What Rembrandt's sketches show
747
00:52:12,280 --> 00:52:15,800
is that the tide of artistic
inspiration also flowed
748
00:52:15,800 --> 00:52:17,440
from East to West.
749
00:52:20,400 --> 00:52:24,160
In the end, Rembrandt was
a stay-at-home cultural traveller.
750
00:52:27,480 --> 00:52:30,440
But what might he have made
of the real thing?
751
00:52:34,120 --> 00:52:37,760
Of the marbled perfection of Agra?
752
00:52:41,600 --> 00:52:46,480
Each building, a dialogue
between curve and straight line.
753
00:52:48,680 --> 00:52:52,960
A civilisation as painterly
in its architecture as in its art.
754
00:52:56,240 --> 00:52:59,040
Another extraordinary dome.
755
00:53:01,400 --> 00:53:04,320
A marble monument to love,
756
00:53:04,320 --> 00:53:06,880
20 years in the making.
757
00:53:08,280 --> 00:53:11,160
The tribute of
the Emperor Shah Jahan
758
00:53:11,160 --> 00:53:13,800
for his dead wife Mumtaz Mahal.
759
00:53:16,080 --> 00:53:20,680
Grief and yearning translated
into architectural poetry.
760
00:53:21,720 --> 00:53:24,640
While European art was fizzing
with experiment,
761
00:53:24,640 --> 00:53:28,640
the Mughal's perfected
royal elegies crafted in stone.
762
00:53:30,160 --> 00:53:32,720
This building,
the I'timad-ud-Daulah,
763
00:53:32,720 --> 00:53:35,480
is the first of their
marble mausoleums
764
00:53:35,480 --> 00:53:38,520
build a decade before the Taj Mahal.
765
00:53:40,840 --> 00:53:44,160
Some claim it's the most perfect
building in India
766
00:53:44,160 --> 00:53:46,240
and I think they may be right.
767
00:53:47,280 --> 00:53:49,400
It too was a work of devotion,
768
00:53:49,400 --> 00:53:52,400
but this time designed
by a cultivated woman,
769
00:53:52,400 --> 00:53:55,560
Jahangir's favourite wife,
Nur Jahan.
770
00:53:57,200 --> 00:54:00,720
She was the child of
a Persian father, Mirza Beg,
771
00:54:00,720 --> 00:54:02,760
Jahangir's closest adviser.
772
00:54:04,200 --> 00:54:07,320
When he died,
Nur Jahan built a tomb for him
773
00:54:07,320 --> 00:54:09,880
as handsome as any emperor's.
774
00:54:09,880 --> 00:54:13,320
And looking at it,
you would say her creation
775
00:54:13,320 --> 00:54:16,360
is about as perfect
as anything
776
00:54:16,360 --> 00:54:19,000
the hand of man can accomplish.
777
00:54:20,160 --> 00:54:23,960
And then you go inside and see this.
778
00:54:40,960 --> 00:54:43,960
Death in a jewel box.
779
00:54:43,960 --> 00:54:50,440
The chilly funereal marble warmed
by an uncountable myriad of gems.
780
00:54:51,600 --> 00:54:57,280
Encrusted in glowing paint,
the ceiling burns.
781
00:54:59,720 --> 00:55:03,520
And on the walls, in a technique
borrowed from Italy
782
00:55:03,520 --> 00:55:07,880
of planed-down jewels,
a paradise garden.
783
00:55:07,880 --> 00:55:13,080
There are images of flowers
designed so naturalistically,
784
00:55:13,080 --> 00:55:17,720
so scientifically, that they could
have come straight from the pages
785
00:55:17,720 --> 00:55:22,720
of one of that endlessly curious
Jahangir's great books.
786
00:55:22,720 --> 00:55:27,960
Here in the presence of the dead,
we have an eternal springtime.
787
00:55:34,160 --> 00:55:38,880
And that perhaps is both
its glory and its limitation.
788
00:55:38,880 --> 00:55:43,160
The mausoleum is like a page from
one of Jahangir's picture books.
789
00:55:43,160 --> 00:55:46,560
And like those books,
it's private and contained.
790
00:55:48,960 --> 00:55:53,560
Every hint of the uneven
roughness of life is smoothed away.
791
00:55:56,800 --> 00:56:00,200
It couldn't be more different
from European art,
792
00:56:00,200 --> 00:56:03,440
with its earthy,
subversive humanity,
793
00:56:03,440 --> 00:56:07,000
the force of individual genius
coming at you.
794
00:56:08,280 --> 00:56:09,720
How different that is
795
00:56:09,720 --> 00:56:12,960
from the anonymous serenity
of this royal tomb,
796
00:56:12,960 --> 00:56:16,880
a serenity that would
all too soon be shattered.
797
00:56:19,000 --> 00:56:23,080
Out there, the western hurly-burly
is getting ready to make
798
00:56:23,080 --> 00:56:28,200
terrible mischief, to smash its way
into the domed heavenly vault,
799
00:56:28,200 --> 00:56:31,320
to stick its bloody,
great brutal boots
800
00:56:31,320 --> 00:56:33,920
right into the paradise garden.
801
00:56:33,920 --> 00:56:38,840
It'll make an empire based on
machines, money and muskets.
802
00:56:38,840 --> 00:56:42,440
And then, slowly but surely,
803
00:56:42,440 --> 00:56:45,800
the Mughal Empire
will disappear entirely
804
00:56:45,800 --> 00:56:48,320
inside its courtly refinement,
805
00:56:48,320 --> 00:56:53,360
becoming inexorably
just a cultural ornament.
806
00:56:55,000 --> 00:56:58,920
So, after centuries
of extraordinary flowering,
807
00:56:58,920 --> 00:57:02,840
did the Eastern Renaissance
just simply wither away?
808
00:57:02,840 --> 00:57:04,520
Not quite.
809
00:57:04,520 --> 00:57:09,400
Because these delicate blooms
and glowing jewels did survive.
810
00:57:10,560 --> 00:57:13,840
They reappeared in
what Europeans wore on their bodies
811
00:57:13,840 --> 00:57:16,520
and how they decorated their homes.
812
00:57:18,520 --> 00:57:21,240
Mughal domes appeared in Brighton.
813
00:57:21,240 --> 00:57:25,320
Western art critics
called that beauty decorative
814
00:57:25,320 --> 00:57:28,600
to distinguish it from
pictures they put in frames -
815
00:57:28,600 --> 00:57:31,240
what they considered "real art".
816
00:57:33,440 --> 00:57:38,400
But it was in he East that
the ancient meaning of art as craft
817
00:57:38,400 --> 00:57:42,760
was preserved
in all its majestic splendour -
818
00:57:42,760 --> 00:57:48,560
and still is - because if the work
of art is to intensify
819
00:57:48,560 --> 00:57:51,160
our delight
in the beauty of the world,
820
00:57:51,160 --> 00:57:55,240
and to do so with pattern
and colour, the music of the eye,
821
00:57:55,240 --> 00:57:58,680
then what you see here
was not an ending,
822
00:57:58,680 --> 00:58:02,240
but another vibrant beginning.
823
00:58:10,800 --> 00:58:14,640
The Open University has produced
a free poster that explores
824
00:58:14,640 --> 00:58:18,360
the history of different
civilisations through artefacts.
825
00:58:18,360 --> 00:58:22,480
To order your free copy,
please call...
826
00:58:24,480 --> 00:58:26,480
..or go to the address on screen
827
00:58:26,480 --> 00:58:29,280
and follow the links
for the Open University.
109958
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