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BELLS PEAL | 0:00:02 | 0:00:03 | |
The peal of church bells rang out across medieval Britain. | 0:00:03 | 0:00:07 | |
You got up, prayed and worked to their sound. | 0:00:07 | 0:00:10 | |
The Christian Church influenced almost every waking hour. | 0:00:10 | 0:00:16 | |
From cradle to grave, it gave rhythm to your days, | 0:00:16 | 0:00:19 | |
to your weeks, and to your year. | 0:00:19 | 0:00:22 | |
And so medieval churches are bustling with life, | 0:00:22 | 0:00:25 | |
often in ways that you would not expect. | 0:00:25 | 0:00:28 | |
By the Middle Ages, the Church had come to embrace every aspect of life. | 0:00:31 | 0:00:37 | |
I'm Richard Taylor. | 0:00:38 | 0:00:40 | |
I write books about the meaning of Britain's churches. | 0:00:40 | 0:00:44 | |
I believe we've forgotten how to read the language of these buildings. | 0:00:44 | 0:00:48 | |
But, if we care to look, we can connect directly | 0:00:48 | 0:00:52 | |
with our ancestors' deepest hopes and fears. | 0:00:52 | 0:00:55 | |
I'll be looking at medieval wall paintings, carvings, | 0:00:56 | 0:01:01 | |
angels and demons, | 0:01:01 | 0:01:03 | |
to discover just how the Church came to permeate everyday life so completely. | 0:01:03 | 0:01:08 | |
Churches originally served | 0:01:19 | 0:01:21 | |
to shelter the altar, the focal point | 0:01:21 | 0:01:23 | |
for the most important Christian ceremony - the Eucharist. | 0:01:23 | 0:01:26 | |
The early churches were often simple and crudely built. | 0:01:27 | 0:01:31 | |
But the medieval period was a golden age of church construction. | 0:01:33 | 0:01:37 | |
Building techniques and artistry soared to new levels. | 0:01:37 | 0:01:41 | |
From the 13th to 15th centuries, | 0:01:42 | 0:01:46 | |
impressively decorated churches like this rose up all over Britain. | 0:01:46 | 0:01:50 | |
The interiors were recreating Heaven on Earth, | 0:01:52 | 0:01:56 | |
and what better way to evoke that heavenly world than with angels? | 0:01:56 | 0:02:01 | |
Many churches have angels in them, but none are quite like Blythburgh. | 0:02:02 | 0:02:07 | |
The angels here are hovering over the heads of the congregation. | 0:02:20 | 0:02:24 | |
Every one is as different as the people underneath them - | 0:02:24 | 0:02:27 | |
their faces, their hands, their hairstyles. | 0:02:27 | 0:02:31 | |
Originally, these would have been painted in green and black | 0:02:31 | 0:02:34 | |
and covered in gold leaf. | 0:02:34 | 0:02:37 | |
And the impact, especially for people who didn't see | 0:02:37 | 0:02:40 | |
highly decorated images in their day-to-day lives, | 0:02:40 | 0:02:43 | |
must have been overwhelming. | 0:02:43 | 0:02:46 | |
I love the way their wings are thrown apart. | 0:02:47 | 0:02:52 | |
And on every one there's a crown, a golden crown. | 0:02:52 | 0:02:57 | |
I wonder if people would have picked their favourite angel back then | 0:02:57 | 0:03:00 | |
and felt that they were watching over them. | 0:03:00 | 0:03:03 | |
This glimpse of Heaven inside the church | 0:03:09 | 0:03:12 | |
contrasted with the difficult and devilish world outside. | 0:03:12 | 0:03:16 | |
Life was seen as a battleground between good and evil. | 0:03:16 | 0:03:19 | |
Malign forces were constantly at work | 0:03:19 | 0:03:22 | |
to cause mankind suffering and destruction. | 0:03:22 | 0:03:25 | |
Life in the Middle Ages was lived on a cosmic scale. | 0:03:27 | 0:03:31 | |
"Invisible devils surrounded you," said one writer, | 0:03:31 | 0:03:34 | |
"as numerous as the motes of dust on a sunbeam." | 0:03:34 | 0:03:37 | |
Bad harvests were the work of the devil, | 0:03:37 | 0:03:40 | |
so was illness, so was violent storm. | 0:03:40 | 0:03:43 | |
But the forces of darkness trembled before the forces of good, | 0:03:43 | 0:03:47 | |
and it was through the Church and its teaching | 0:03:47 | 0:03:50 | |
that you could obtain protection and sanctuary. | 0:03:50 | 0:03:54 | |
The Church offered this protection | 0:03:55 | 0:03:57 | |
from cradle to grave, and it started | 0:03:57 | 0:04:00 | |
with a key rite of passage - baptism. | 0:04:00 | 0:04:03 | |
The font is the focus of this ceremony - | 0:04:06 | 0:04:09 | |
so important that you'll find one in pretty much every church. | 0:04:09 | 0:04:12 | |
I'm on my way to a very special example. | 0:04:16 | 0:04:19 | |
The beauty of this one is that it's going to illustrate | 0:04:19 | 0:04:25 | |
everything that a font is for, | 0:04:25 | 0:04:28 | |
and the story that lies behind the ceremony of baptism. | 0:04:28 | 0:04:33 | |
This is a very simple little church. | 0:04:38 | 0:04:40 | |
Oh, gosh! | 0:04:45 | 0:04:47 | |
Well, it meets you as soon as you walk through the door. | 0:04:47 | 0:04:50 | |
Oh, golly. | 0:04:58 | 0:05:01 | |
I've seen pictures of you, | 0:05:01 | 0:05:02 | |
but this font is bearing down and crushing | 0:05:02 | 0:05:08 | |
the bodies of three figures, | 0:05:08 | 0:05:11 | |
although this is the only one that's still entire. | 0:05:11 | 0:05:16 | |
The idea is that the very act of baptism | 0:05:16 | 0:05:20 | |
is crushing the evil spirits. Whether this is an evil spirit, | 0:05:20 | 0:05:25 | |
or whether this is a man who's locked in the chains of sin. | 0:05:25 | 0:05:31 | |
He's actually got a bit of a look of resignation on his face. | 0:05:31 | 0:05:35 | |
HE CHUCKLES | 0:05:35 | 0:05:36 | |
The font would have been filled almost to the brim. | 0:05:36 | 0:05:40 | |
The priest would have taken the infant | 0:05:40 | 0:05:43 | |
and plunged them into the water, | 0:05:43 | 0:05:46 | |
the idea being that you wanted to cover | 0:05:46 | 0:05:49 | |
every inch of the child's skin, | 0:05:49 | 0:05:51 | |
so that there was no way in for the devil. | 0:05:51 | 0:05:53 | |
You can see the signs that this font once had a lid, with a lock. | 0:05:56 | 0:06:00 | |
The holy water was thought to have mystical powers. | 0:06:00 | 0:06:04 | |
Font covers were used to prevent people from making off with it, | 0:06:04 | 0:06:09 | |
for magical rituals, lucky charms, or to sprinkle on their crops. | 0:06:09 | 0:06:14 | |
The covers became works of art in their own right. | 0:06:18 | 0:06:21 | |
This is the baptism of Christ. | 0:06:29 | 0:06:32 | |
What you've got going on here | 0:06:32 | 0:06:35 | |
is the figure of John the Baptist here, | 0:06:35 | 0:06:38 | |
the figure of Christ in the middle being baptised in the River Jordan. | 0:06:38 | 0:06:44 | |
He's slightly bandy legged, actually. | 0:06:44 | 0:06:46 | |
And the hand of God | 0:06:46 | 0:06:50 | |
descending from on high, | 0:06:50 | 0:06:53 | |
and the spirit of God descending on Jesus. | 0:06:53 | 0:06:56 | |
This is an image of the beginning of it all, where it all began. | 0:06:57 | 0:07:03 | |
Although this is a very early medieval font | 0:07:04 | 0:07:07 | |
and a very early image of the baptism of Christ, | 0:07:07 | 0:07:10 | |
it's an image that you'll find on fonts everywhere. | 0:07:10 | 0:07:14 | |
The fact that you can drive through the Herefordshire countryside, | 0:07:14 | 0:07:18 | |
open the door and find something like this | 0:07:18 | 0:07:23 | |
standing in front of you is just extraordinary. | 0:07:23 | 0:07:27 | |
It wasn't only newborn children | 0:07:33 | 0:07:35 | |
who were taken under the wing of the Church. | 0:07:35 | 0:07:37 | |
There was also a special ceremony called churching, | 0:07:37 | 0:07:41 | |
for mothers who had survived the ordeal of childbirth. | 0:07:41 | 0:07:44 | |
The medieval ceremony is long gone, | 0:07:51 | 0:07:53 | |
but remarkably, here in Ranworth | 0:07:53 | 0:07:55 | |
in Norfolk, evidence of it survives. | 0:07:55 | 0:07:59 | |
"Sorry, the church is closed this morning." | 0:08:03 | 0:08:06 | |
Oh, no. | 0:08:06 | 0:08:08 | |
Ah! Open. | 0:08:08 | 0:08:10 | |
Fantastic. | 0:08:11 | 0:08:12 | |
St Helen's is famous for its saints. | 0:08:16 | 0:08:19 | |
It was believed that the saints had suffered on Earth | 0:08:19 | 0:08:23 | |
and were therefore sympathetic to human pain. | 0:08:23 | 0:08:26 | |
In one area of the church, they are exclusively female, | 0:08:29 | 0:08:34 | |
and this is where the ceremony of churching took place. | 0:08:34 | 0:08:37 | |
So the women of the parish would have come here, | 0:08:39 | 0:08:43 | |
perhaps, as a kind of special area for themselves. | 0:08:43 | 0:08:47 | |
Yes. They would. | 0:08:47 | 0:08:48 | |
And it's probably here that they would be churched as well | 0:08:48 | 0:08:52 | |
after giving birth | 0:08:52 | 0:08:53 | |
because this is a very important ceremony in the Middle Ages | 0:08:53 | 0:08:56 | |
which we don't think much about now. | 0:08:56 | 0:08:58 | |
Women would come here to be cleansed and then go back into the church, | 0:08:58 | 0:09:03 | |
and the church would be also, of course, receiving the child after baptism. | 0:09:03 | 0:09:07 | |
These beautiful images of mothers and children radiate maternal love. | 0:09:10 | 0:09:16 | |
But who are the women in these paintings? | 0:09:16 | 0:09:18 | |
It's very female, all women. | 0:09:18 | 0:09:21 | |
Here is St Mary Salome with her two children. | 0:09:22 | 0:09:26 | |
Then we have the Virgin Mary with Christ | 0:09:26 | 0:09:31 | |
and then Mary Cleophas with her brood of four. | 0:09:31 | 0:09:35 | |
So it's a very fertile family, and they're all little boys, | 0:09:35 | 0:09:39 | |
which of course would appeal very much in the Middle Ages. | 0:09:39 | 0:09:42 | |
Then you have the patron saint of childbirth, St Margaret. | 0:09:42 | 0:09:46 | |
She protects women throughout childbirth and at the time of delivery. | 0:09:46 | 0:09:50 | |
During their term, would they have been conversing, | 0:09:50 | 0:09:54 | |
if you like, with these saints? | 0:09:54 | 0:09:57 | |
Yes, very much so. Because, you know, if you have a stillbirth, for example, | 0:09:57 | 0:10:00 | |
your risk of death is very high. | 0:10:00 | 0:10:02 | |
So you'd come here and you'd pray at this time - | 0:10:02 | 0:10:05 | |
-"Please make the child healthy." -Yes. | 0:10:05 | 0:10:08 | |
-You know, "Make the birth go well." -Yes. | 0:10:08 | 0:10:11 | |
No blood transfusion, no epidurals, no gas and air. | 0:10:11 | 0:10:14 | |
Nothing that, you know, we just assume. | 0:10:14 | 0:10:18 | |
So it's a big risk and something that you need constant help with. | 0:10:18 | 0:10:22 | |
As I understand what these were for, I find it incredibly moving | 0:10:22 | 0:10:27 | |
just to be standing here, where so much took place, | 0:10:27 | 0:10:34 | |
in terms of people's hopes and their fears, and then their celebrations. | 0:10:34 | 0:10:39 | |
Yes. I mean, we are in the steps of generations of women | 0:10:39 | 0:10:44 | |
who have come here with their hopes of survival, | 0:10:44 | 0:10:48 | |
their hopes of dynasty, their hopes of happiness in the future, | 0:10:48 | 0:10:52 | |
which is no different from our own today. | 0:10:52 | 0:10:54 | |
I think it really brings to us very forcibly | 0:10:54 | 0:10:59 | |
our connection with the historic past. | 0:10:59 | 0:11:02 | |
-Yes. -They're people like us. -Yeah. | 0:11:02 | 0:11:06 | |
As the medieval period progressed, | 0:11:10 | 0:11:12 | |
people became more and more captivated by the saints. | 0:11:12 | 0:11:17 | |
They filled churches with their images. | 0:11:17 | 0:11:19 | |
There are hundreds of saints, each one uniquely distinctive. | 0:11:34 | 0:11:39 | |
Here at St Helen's is one of the country's finest collections. | 0:11:39 | 0:11:44 | |
Let's see if we can identify some of them. | 0:11:46 | 0:11:50 | |
Oh, well, this is St George, the patron saint of England. | 0:11:52 | 0:11:58 | |
You easily spot St George because he's got the dragon at his feet | 0:11:58 | 0:12:03 | |
that he's just about to whack its head off with the sword. | 0:12:03 | 0:12:07 | |
I'm going to take a pop, without really having looked at this, | 0:12:08 | 0:12:11 | |
but you often get the 12 apostles if you have this number of... | 0:12:11 | 0:12:15 | |
Yes, one, two, three, four, five, six... 12 of them. | 0:12:15 | 0:12:19 | |
So these are going to be the 12 disciples who followed Jesus, | 0:12:19 | 0:12:24 | |
and each of them has got their own emblem, their own attribute. | 0:12:24 | 0:12:29 | |
St Andrew was martyred, so it's said, | 0:12:29 | 0:12:33 | |
on an X-shaped cross, | 0:12:33 | 0:12:35 | |
which is the basis of the flag of Scotland. | 0:12:35 | 0:12:39 | |
The disciple with the spear is St Thomas - "Doubting Thomas". | 0:12:39 | 0:12:44 | |
And the spear was the instrument that he was martyred with. | 0:12:44 | 0:12:50 | |
One aspect of the saints is, sometimes attributes that they had | 0:12:50 | 0:12:55 | |
lent themselves to become patron saints of particular professions. | 0:12:55 | 0:12:59 | |
In St Thomas's case, he was "Doubting Thomas", so therefore had | 0:12:59 | 0:13:03 | |
poor spiritual eyesight, and so he became | 0:13:03 | 0:13:07 | |
the patron saint of opticians. | 0:13:07 | 0:13:09 | |
Oh, this is St Peter. | 0:13:11 | 0:13:13 | |
And St Peter is portrayed | 0:13:13 | 0:13:16 | |
with a pair of keys in his hand. | 0:13:16 | 0:13:19 | |
But they're not any old keys, | 0:13:19 | 0:13:21 | |
these are the keys to the Gates of Heaven. | 0:13:21 | 0:13:24 | |
The saints inside a church are there to comfort and reassure. | 0:13:26 | 0:13:30 | |
But the decoration on the outside of the building | 0:13:30 | 0:13:35 | |
almost seems designed to fill you with fear. | 0:13:35 | 0:13:37 | |
Gargoyles may have been intended to contrast | 0:13:40 | 0:13:44 | |
the wicked world outside the church, with the Kingdom of Heaven inside it. | 0:13:44 | 0:13:48 | |
But they also tap into a long root of portraying monsters | 0:13:48 | 0:13:52 | |
on the outside of buildings to scare off evil. | 0:13:52 | 0:13:54 | |
A sort of scarecrow or scare-devil, if you like. | 0:13:54 | 0:13:57 | |
Gargoyles were originally functional. | 0:14:00 | 0:14:03 | |
As rainwater cascaded from the roof of the church, | 0:14:03 | 0:14:06 | |
you wanted to throw it clear from the church | 0:14:06 | 0:14:08 | |
so that it didn't soften the foundations, | 0:14:08 | 0:14:10 | |
and so long spouts were built from the guttering. | 0:14:10 | 0:14:14 | |
Masons had fun with this and carved them into long monsters, | 0:14:14 | 0:14:17 | |
and soon these gargling monsters covered the whole church. | 0:14:17 | 0:14:23 | |
These carvings are in part fanciful decoration, but they also tap into | 0:14:25 | 0:14:31 | |
people's worst fears - the fear of the devil and of damnation. | 0:14:31 | 0:14:36 | |
To the medieval mind, the image of Hell | 0:14:36 | 0:14:39 | |
as a burning pit of fire was an absolute reality. | 0:14:39 | 0:14:42 | |
Men and women were preoccupied | 0:14:44 | 0:14:46 | |
with escaping Hell, by securing entry into Heaven. | 0:14:46 | 0:14:50 | |
And to do that, how you lived was all-important. | 0:14:51 | 0:14:55 | |
In the 13th century, the Church set out formal codes of behaviour | 0:14:55 | 0:14:59 | |
which ordinary people should learn and live by, | 0:14:59 | 0:15:03 | |
including the Ten Commandments and the Seven Deadly Sins. | 0:15:03 | 0:15:07 | |
The medieval Christian was expected | 0:15:11 | 0:15:13 | |
to know the Seven Deadly Sins by heart. | 0:15:13 | 0:15:16 | |
And in an age when very few people could read, | 0:15:16 | 0:15:20 | |
the Church had to find other ways to drum these lessons into people. | 0:15:20 | 0:15:25 | |
I'm in Hessett, in Suffolk, | 0:15:28 | 0:15:31 | |
to see a very rare surviving example of the kind of paintings | 0:15:31 | 0:15:35 | |
that once would have covered Britain's medieval churches. | 0:15:35 | 0:15:39 | |
This must be the wall painting. | 0:15:40 | 0:15:43 | |
Here it is. Seven Deadly Sins. | 0:15:43 | 0:15:45 | |
And it's a tree with the devils down at the bottom. | 0:15:45 | 0:15:49 | |
-Yes. Can you see what they're doing? -I can't. | 0:15:49 | 0:15:51 | |
They've got a two-handed saw | 0:15:51 | 0:15:53 | |
and they're cutting through the trunk of the tree. | 0:15:53 | 0:15:56 | |
-Oh, yes. -You can see the tree's growing out of the mouth of Hell. | 0:15:56 | 0:16:00 | |
-So it is. -That's where it's going to end up. | 0:16:00 | 0:16:02 | |
It's all about to go pear-shaped! | 0:16:02 | 0:16:04 | |
So all of the people are heading for a fall, in other words. | 0:16:04 | 0:16:08 | |
-They are, absolutely. -Pride... -Yeah. | 0:16:08 | 0:16:11 | |
-..is always the worst of the Seven Deadly Sins. -Yeah. | 0:16:11 | 0:16:15 | |
So I'm going to go for Pride being the finely dressed man | 0:16:15 | 0:16:19 | |
at the top of the tree. | 0:16:19 | 0:16:21 | |
He's very trendy, and he's got that lovely feather in his cap, | 0:16:21 | 0:16:25 | |
strutting his stuff at the top of the tree. | 0:16:25 | 0:16:27 | |
And who's the man on the right with the raised stick? | 0:16:27 | 0:16:32 | |
-He's Wrath or Anger. -Oh, yes. | 0:16:32 | 0:16:35 | |
And he's got a weapon which he's brandishing | 0:16:35 | 0:16:39 | |
and sort of raging and fuming. | 0:16:39 | 0:16:41 | |
The next one down? | 0:16:41 | 0:16:42 | |
The next one down was the one they had a lot of trouble | 0:16:42 | 0:16:45 | |
with actually depicting, because it's Envy. | 0:16:45 | 0:16:47 | |
I think he's just sort of clutching his belt and pointing. | 0:16:47 | 0:16:50 | |
So I think he's just sort of | 0:16:50 | 0:16:52 | |
looking at the Joneses over there and wishing he had what they'd got. | 0:16:52 | 0:16:56 | |
I'm going to go for Lust at the top. | 0:16:56 | 0:17:00 | |
Is that the pair...in embrace? | 0:17:00 | 0:17:02 | |
Yes, they're having a bit of a kiss and a cuddle there, nose to nose. | 0:17:02 | 0:17:05 | |
They're at the top. | 0:17:05 | 0:17:06 | |
-Avarice. Love of money. -Old moneybags. | 0:17:06 | 0:17:09 | |
What was the purpose of paintings like this, what's the purpose of the Seven Deadly Sins? | 0:17:09 | 0:17:15 | |
They're not just about conveying information, | 0:17:15 | 0:17:18 | |
they're about helping you to change your life. | 0:17:18 | 0:17:21 | |
And because it's using humour, and using satire, | 0:17:21 | 0:17:24 | |
and using a bit of threat, it's engaging with all your emotions. | 0:17:24 | 0:17:29 | |
So it's going to lodge in your memory. | 0:17:29 | 0:17:31 | |
I'm struck by how much warmth there is in them, | 0:17:37 | 0:17:41 | |
how much humanity. | 0:17:41 | 0:17:43 | |
But these weren't just a question of people going, | 0:17:43 | 0:17:46 | |
"You shall not be proud," and, "You shall not be envious." | 0:17:46 | 0:17:49 | |
People aren't idiots now and they weren't idiots then, | 0:17:49 | 0:17:53 | |
and people aren't terrified into behaving well. | 0:17:53 | 0:17:56 | |
But they can be persuaded, | 0:17:56 | 0:17:59 | |
they can be cajoled and they can be laughed, if you like, into behaving. | 0:17:59 | 0:18:05 | |
The unexpected humour and humanity of the wall paintings | 0:18:09 | 0:18:13 | |
shows the real vitality that characterised the Church's teaching. | 0:18:13 | 0:18:19 | |
And that love for life wasn't confined to wall paintings. | 0:18:19 | 0:18:24 | |
You can find it in the most surprising places. | 0:18:25 | 0:18:29 | |
I've come to the Church of St Laurence in Ludlow, | 0:18:33 | 0:18:36 | |
trying to find something | 0:18:36 | 0:18:38 | |
which sees medieval life sweeping into the church. | 0:18:38 | 0:18:41 | |
What I'm looking for is hidden away, | 0:18:43 | 0:18:46 | |
right in the church's most sacred area. | 0:18:46 | 0:18:49 | |
Where we are, are in among the choir stalls. | 0:18:54 | 0:18:59 | |
And these are what are known as "misericords". | 0:18:59 | 0:19:04 | |
These misericords or "mercy seats", fold up to reveal a small wooden shelf | 0:19:04 | 0:19:09 | |
that allowed the clergy to take the weight off their feet | 0:19:09 | 0:19:12 | |
during a long service, while still giving the appearance of standing up. | 0:19:12 | 0:19:17 | |
I've always understood, but I've never had the courage to try this. | 0:19:17 | 0:19:21 | |
But if you were to start nodding... nodding off to sleep | 0:19:21 | 0:19:26 | |
and your body were to start slumping forward... | 0:19:26 | 0:19:29 | |
CLATTERING | 0:19:29 | 0:19:31 | |
..then that would happen | 0:19:31 | 0:19:33 | |
and, um...you'd be rather embarrassed. | 0:19:33 | 0:19:38 | |
It's what is revealed underneath the seats which is truly remarkable. | 0:19:40 | 0:19:45 | |
The carvings are wonderful in their exuberance and detail. | 0:19:45 | 0:19:49 | |
But the biggest surprise is their subject matter. | 0:19:49 | 0:19:52 | |
Oh, he's delightful. | 0:19:58 | 0:20:00 | |
This is a man, | 0:20:00 | 0:20:03 | |
sitting by the fireplace, in the middle of winter, | 0:20:03 | 0:20:06 | |
with his cooking pot. | 0:20:06 | 0:20:08 | |
On the other side, you've got these two hanging carcasses, | 0:20:08 | 0:20:11 | |
which are his food to keep him going for the winter. | 0:20:11 | 0:20:14 | |
It's like a little snapshot of what life was really like | 0:20:14 | 0:20:19 | |
in the Middle Ages. | 0:20:19 | 0:20:21 | |
What have we got under here? | 0:20:21 | 0:20:23 | |
Oh, hello. They're not holding back, you see, in these misericords, | 0:20:23 | 0:20:27 | |
on a bit of nudity when they want to use it. | 0:20:27 | 0:20:30 | |
This is a bare-breasted mermaid. | 0:20:30 | 0:20:33 | |
As well as being bare breasted, she's a little bit plump. | 0:20:33 | 0:20:36 | |
You can see a little muffin poking out around the top of her fish scales. | 0:20:36 | 0:20:40 | |
There may be a warning here against | 0:20:40 | 0:20:43 | |
beautiful women and their wiles, luring men onto the rocks of sin. | 0:20:43 | 0:20:48 | |
What about here? | 0:20:50 | 0:20:51 | |
What's going on here, | 0:20:53 | 0:20:55 | |
is that you've got... | 0:20:55 | 0:20:58 | |
an ale wife here, half naked. | 0:20:58 | 0:21:03 | |
No, she's not even half naked, she's completely naked. | 0:21:03 | 0:21:06 | |
And she's still got her ale jug clasped in her hand. | 0:21:06 | 0:21:09 | |
You've got a demon with a long list of her sins, | 0:21:09 | 0:21:14 | |
and she is being hauled off to Hell for giving short measures of ale. | 0:21:14 | 0:21:20 | |
You can't really argue with that! | 0:21:20 | 0:21:22 | |
And this is a drunk, | 0:21:22 | 0:21:25 | |
bent over his barrel, lolling forward with the effort of it all. | 0:21:25 | 0:21:30 | |
These were never intended for public consumption. | 0:21:31 | 0:21:35 | |
Ordinary men and women simply wouldn't have seen them. | 0:21:35 | 0:21:39 | |
These images were there as entertainment and instruction | 0:21:39 | 0:21:43 | |
for the clergy. | 0:21:43 | 0:21:44 | |
Clearly, they weren't quite so po-faced as we might imagine. | 0:21:44 | 0:21:49 | |
You find morality, yes, but not dominating, not bullying. | 0:21:49 | 0:21:55 | |
Sincere, heartfelt. | 0:21:55 | 0:21:56 | |
You find fantastical creatures, | 0:21:56 | 0:21:59 | |
you find lives, from the bawdy to the sacred. | 0:21:59 | 0:22:04 | |
They really did fill their churches with life. | 0:22:04 | 0:22:09 | |
In many medieval towns and villages, | 0:22:10 | 0:22:12 | |
the church was their only public building. | 0:22:12 | 0:22:15 | |
Things took place in the nave, the main body of the church, | 0:22:15 | 0:22:18 | |
that you wouldn't expect in a consecrated space - | 0:22:18 | 0:22:22 | |
plays, games and gossip. | 0:22:22 | 0:22:25 | |
But it was another area of the church, | 0:22:26 | 0:22:29 | |
which today we often overlook, | 0:22:29 | 0:22:32 | |
that was an even greater focus for everyday life - the porch. | 0:22:32 | 0:22:36 | |
Most churches have one, some grand, like this one at Eye. | 0:22:37 | 0:22:41 | |
And some simple, like this one in Bradford-on-Avon. | 0:22:41 | 0:22:45 | |
It's this impressive entrance at Walpole in Norfolk, | 0:22:47 | 0:22:51 | |
that I've come to explore. | 0:22:51 | 0:22:53 | |
This is a fabulous church porch. | 0:22:53 | 0:22:56 | |
It was here that sacred met secular. | 0:22:58 | 0:23:01 | |
In the church porch, contracts were sealed, | 0:23:04 | 0:23:06 | |
wills signed and debts repaid. | 0:23:06 | 0:23:09 | |
And sometimes, unidentified corpses were laid out to be claimed. | 0:23:09 | 0:23:14 | |
This is a double-decker porch, meaning that it's got two floors, | 0:23:19 | 0:23:23 | |
one over the other, because a lot of business was conducted upstairs. | 0:23:23 | 0:23:28 | |
I think this is going to be the way. | 0:23:38 | 0:23:41 | |
Let's see. | 0:23:41 | 0:23:42 | |
Ah, yes. | 0:23:44 | 0:23:46 | |
Quite narrow. | 0:23:46 | 0:23:48 | |
Crikey! | 0:23:54 | 0:23:56 | |
People in the Middle Ages were a lot smaller than I am. | 0:23:56 | 0:24:00 | |
Ah! What a pretty little room. | 0:24:02 | 0:24:04 | |
Now a Sunday school, this would once have housed the church court. | 0:24:06 | 0:24:11 | |
I'm standing in the very space where generations of parishioners | 0:24:11 | 0:24:14 | |
would have played out the drama of their lives - | 0:24:14 | 0:24:18 | |
everything from the trying of petty offences, | 0:24:18 | 0:24:21 | |
to the settling of disputes. | 0:24:21 | 0:24:23 | |
The business of the church courts in a place like this | 0:24:26 | 0:24:29 | |
were hugely important for the community. | 0:24:29 | 0:24:32 | |
One thing that was regulated then, | 0:24:32 | 0:24:35 | |
far more than now, in some ways, | 0:24:35 | 0:24:38 | |
was slander, libel against your neighbour, | 0:24:38 | 0:24:41 | |
because your reputation was everything. | 0:24:41 | 0:24:44 | |
If someone impugned your honesty, | 0:24:44 | 0:24:46 | |
well, perhaps you could never do business again. | 0:24:46 | 0:24:49 | |
If someone accused you of drunkenness, that was very serious. | 0:24:49 | 0:24:53 | |
And if someone accused you, particularly a woman, of inchastity, | 0:24:53 | 0:24:58 | |
well, that had huge implications for you and your family. | 0:24:58 | 0:25:03 | |
And so the courts spent huge amounts of time | 0:25:03 | 0:25:06 | |
regulating these claims by one villager against another. | 0:25:06 | 0:25:10 | |
So the inside of the medieval church bustled with life. | 0:25:11 | 0:25:16 | |
But it was outside, in the churchyard, | 0:25:16 | 0:25:19 | |
a space that today we associate with the dead, | 0:25:19 | 0:25:22 | |
where people really let their hair down. | 0:25:22 | 0:25:25 | |
After the mass on a Sunday, | 0:25:30 | 0:25:33 | |
sports and games would be held here by the villagers. | 0:25:33 | 0:25:36 | |
Archery contests, wrestling matches and fairs were held here too. | 0:25:36 | 0:25:40 | |
And then there were the church ales, | 0:25:40 | 0:25:43 | |
when great tubs of beer would be brewed up, | 0:25:43 | 0:25:45 | |
and food and drink sold for the upkeep of the church. | 0:25:45 | 0:25:50 | |
On these feast days, | 0:25:50 | 0:25:51 | |
scenes of drunkenness and brawling were a regular occurrence. | 0:25:51 | 0:25:55 | |
But there was increasing disquiet about the use of consecrated ground | 0:25:56 | 0:26:00 | |
for these entertainments. | 0:26:00 | 0:26:02 | |
And so in 1509, here at Fressingfield, | 0:26:02 | 0:26:04 | |
a separate building was erected right on the edge of the churchyard, | 0:26:04 | 0:26:08 | |
to allow the eating and the drinking and the fun to continue. | 0:26:08 | 0:26:11 | |
These buildings were once commonplace. | 0:26:13 | 0:26:15 | |
They were known as church houses. | 0:26:15 | 0:26:19 | |
The bequest that left this building for the Church said it was doing so | 0:26:20 | 0:26:24 | |
for the greater reverence of God, and it's now a pub. | 0:26:24 | 0:26:29 | |
And so began a happy relationship | 0:26:29 | 0:26:31 | |
between the village church and the village pub. | 0:26:31 | 0:26:35 | |
And who knows, maybe your local pub was once a church house like this one, | 0:26:36 | 0:26:42 | |
its origins deep-rooted in the church, | 0:26:42 | 0:26:44 | |
which stood at the heart of every village. | 0:26:44 | 0:26:47 | |
I've explored some beautiful churches, | 0:26:51 | 0:26:54 | |
and I've looked beneath their surface | 0:26:54 | 0:26:56 | |
to unpick the stories they tell. | 0:26:56 | 0:26:58 | |
Our medieval ancestors filled their churches | 0:27:01 | 0:27:03 | |
with a vivid sense, not just of | 0:27:03 | 0:27:06 | |
the cosmic world of angels and demons, | 0:27:06 | 0:27:09 | |
but of the world around them - | 0:27:09 | 0:27:11 | |
humorous, warm and animated. | 0:27:11 | 0:27:14 | |
The people who built and decorated these buildings may be long gone, | 0:27:16 | 0:27:21 | |
but if you know how to read them, | 0:27:21 | 0:27:23 | |
their churches are still brimming with life. | 0:27:23 | 0:27:26 | |
But among all these images of life, there are also images | 0:27:29 | 0:27:34 | |
of sorrow and of death. But not just of death. | 0:27:34 | 0:27:38 | |
The bells that summoned you to church would also sound | 0:27:38 | 0:27:42 | |
as your soul passed over into what was coming next. | 0:27:42 | 0:27:45 | |
And it was on this that the greatest energy and imagination was spent - | 0:27:45 | 0:27:50 | |
the life of the world to come. | 0:27:50 | 0:27:54 | |
Next time, I'll discover how medieval churches began to reflect | 0:27:57 | 0:28:02 | |
a growing preoccupation with death. | 0:28:02 | 0:28:05 | |
I'll see how doom paintings, chantry chapels, | 0:28:05 | 0:28:08 | |
and scenes of pain and anguish | 0:28:08 | 0:28:10 | |
were all designed to prepare for a life beyond the grave. | 0:28:10 | 0:28:16 | |
Subtitles by Red Bee Media Ltd | 0:28:35 | 0:28:37 | |
E-mail [email protected] | 0:28:37 | 0:28:40 |