Browse content similar to Medieval Death. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
In the Middle Ages, death was never far from our ancestors' minds. | 0:00:05 | 0:00:09 | |
And inside their churches, warnings about death were writ large, | 0:00:13 | 0:00:18 | |
leaving no doubt as to what would greet them on the other side. | 0:00:18 | 0:00:23 | |
This is an image of the Last Judgment. | 0:00:23 | 0:00:26 | |
The choice is between heaven and hell. | 0:00:26 | 0:00:30 | |
The dead rise naked from their graves. | 0:00:30 | 0:00:33 | |
Their souls are weighed against their sins. | 0:00:33 | 0:00:36 | |
The saved are welcomed into heaven, | 0:00:36 | 0:00:39 | |
and the damned are being hauled into hell. | 0:00:39 | 0:00:42 | |
What do images like this tell us about the medieval fixation with death, | 0:00:45 | 0:00:49 | |
and the epic drama awaiting them beyond the grave? | 0:00:49 | 0:00:54 | |
By the Middle Ages, | 0:00:57 | 0:00:58 | |
the church was an institution so influential | 0:00:58 | 0:01:02 | |
that you lived and died in its shadow. | 0:01:02 | 0:01:04 | |
And dying well mattered just as much as living well. | 0:01:04 | 0:01:08 | |
I'm Richard Taylor. | 0:01:12 | 0:01:14 | |
I write books about the meaning of Britain's churches. | 0:01:14 | 0:01:17 | |
I believe we've forgotten how to read the language of these buildings. | 0:01:17 | 0:01:21 | |
But if we care to look, | 0:01:24 | 0:01:26 | |
we can connect directly with our ancestors' deepest hopes | 0:01:26 | 0:01:29 | |
and fears. | 0:01:29 | 0:01:31 | |
I'll be looking at medieval images of mortality, | 0:01:33 | 0:01:36 | |
heaven and hell, to find out | 0:01:36 | 0:01:38 | |
how they dealt with the threat of death, and the hereafter. | 0:01:38 | 0:01:42 | |
Death in the Middle Ages was ever-present. | 0:01:58 | 0:02:00 | |
Anything from plague, childbirth or the simplest infection | 0:02:00 | 0:02:04 | |
could suddenly take you from this life. | 0:02:04 | 0:02:06 | |
BELLS PEAL | 0:02:09 | 0:02:13 | |
Inside Holy Trinity Church, at Westbury on Trym, lies a morbid | 0:02:13 | 0:02:18 | |
and graphic reminder of mortality. | 0:02:18 | 0:02:20 | |
This is a cadaver tomb, | 0:02:31 | 0:02:34 | |
so known because, rather than | 0:02:34 | 0:02:37 | |
the usual tombs where the person buried underneath it | 0:02:37 | 0:02:40 | |
is shown in the pink of health and in their best clothes, | 0:02:40 | 0:02:44 | |
this tomb shows the person underneath it | 0:02:44 | 0:02:46 | |
as they are now... | 0:02:46 | 0:02:49 | |
dead... | 0:02:49 | 0:02:51 | |
rotting. I have to say it makes me feel | 0:02:51 | 0:02:53 | |
quite uncomfortable being this close to one. | 0:02:53 | 0:02:57 | |
Cadaver tombs came into being | 0:02:59 | 0:03:02 | |
in the wake of the Black Death in the mid-14th century, | 0:03:02 | 0:03:06 | |
which decimated Europe, killing as much as one third of the population, | 0:03:06 | 0:03:11 | |
destroying whole communities and often taking the hale and the hearty. | 0:03:11 | 0:03:16 | |
And it shows an intense response | 0:03:16 | 0:03:21 | |
to the experience of death in the mind of the living. | 0:03:21 | 0:03:26 | |
But it also contains a message, | 0:03:26 | 0:03:30 | |
"As I am, so tomorrow you may be." | 0:03:30 | 0:03:36 | |
DISCORDANT PEAL OF BELLS | 0:03:36 | 0:03:39 | |
The medieval preoccupation with mortality is reinforced | 0:03:58 | 0:04:03 | |
by a representation of death | 0:04:03 | 0:04:05 | |
that dominated the interior of nearly every church in the land. | 0:04:05 | 0:04:09 | |
Deep in Devon, St Andrew's has a 19th-century | 0:04:17 | 0:04:20 | |
re-imagining of this central scene - | 0:04:20 | 0:04:23 | |
the Crucifixion. | 0:04:23 | 0:04:26 | |
This is a rood screen that separates the nave, | 0:04:29 | 0:04:35 | |
where the people would have stood, from the sanctuary beyond, | 0:04:35 | 0:04:39 | |
where the holy mystery of the Mass would be performed. | 0:04:39 | 0:04:43 | |
The word "rood" comes from an Anglo-Saxon word meaning "cross". | 0:04:43 | 0:04:48 | |
It's spelt R-O-O-D. | 0:04:48 | 0:04:50 | |
And above it is the rood itself. | 0:04:50 | 0:04:54 | |
It's an image of Christ crucified, nailed to the cross. | 0:04:56 | 0:05:01 | |
And what's being shown is the moment of his death | 0:05:01 | 0:05:04 | |
as his head falls forward, usually to the right. | 0:05:04 | 0:05:09 | |
In many ways, it's an appalling scene. | 0:05:09 | 0:05:12 | |
This is an image of torture, of execution and of death. | 0:05:13 | 0:05:19 | |
And for it to be standing here, | 0:05:21 | 0:05:24 | |
in the most central spot of the church, is... | 0:05:24 | 0:05:29 | |
striking and...moving and perplexing. | 0:05:29 | 0:05:35 | |
Why put a torture scene at the heart of a church? | 0:05:35 | 0:05:41 | |
Although it's an image of pain, it's also an image of hope, | 0:05:45 | 0:05:49 | |
because it represents | 0:05:49 | 0:05:51 | |
Christ's sacrifice for the sins of mankind. | 0:05:51 | 0:05:54 | |
And it was through his suffering and death | 0:05:57 | 0:06:00 | |
that you were offered salvation. | 0:06:00 | 0:06:02 | |
The concentration on the suffering of Jesus was a new development. | 0:06:13 | 0:06:18 | |
Early Christianity had used an empty cross | 0:06:20 | 0:06:23 | |
to symbolise Jesus conquering death. | 0:06:23 | 0:06:26 | |
This aversion to showing Christ's suffering | 0:06:28 | 0:06:32 | |
continued into Saxon times. If he was shown | 0:06:32 | 0:06:35 | |
on the cross he was robed, arms outstretched and triumphant. | 0:06:35 | 0:06:40 | |
It was only in the 13th century | 0:06:41 | 0:06:44 | |
that artists began to portray a dying Christ, hanging heavily on his arms. | 0:06:44 | 0:06:50 | |
This was because of a growing theological emphasis on the humanity of Christ. | 0:06:51 | 0:06:58 | |
Passion scenes start to be depicted with realism and symbolic detail. | 0:06:58 | 0:07:02 | |
And it is within the Priory Church at Great Malvern | 0:07:12 | 0:07:16 | |
that the full extent of this devotion can be found. | 0:07:16 | 0:07:18 | |
This is an amazing survival. | 0:07:30 | 0:07:33 | |
These are medieval tiles | 0:07:34 | 0:07:36 | |
of the sort that once would have covered the floors and the walls. | 0:07:36 | 0:07:42 | |
But I'm here trying to find one in particular. Oh, yes, here we are. | 0:07:42 | 0:07:48 | |
It's down here. | 0:07:50 | 0:07:52 | |
This is a tile showing what's known as "the instruments of the Passion". | 0:07:56 | 0:08:00 | |
And you have the crown of thorns. | 0:08:00 | 0:08:04 | |
You've got the whip that was used to beat Christ. | 0:08:04 | 0:08:07 | |
You've got the nails, you've got the spear that pierced his side. | 0:08:07 | 0:08:11 | |
There are dice here that the soldiers used to gamble for Christ's clothes. | 0:08:11 | 0:08:17 | |
Images like this one appeared everywhere in the Middle Ages, | 0:08:18 | 0:08:23 | |
and they are a kind of aide-memoire of what Christ had suffered, | 0:08:23 | 0:08:28 | |
and they fired the popular imagination. | 0:08:28 | 0:08:32 | |
Actually, as I'm looking, | 0:08:32 | 0:08:34 | |
this section here is covered with these images. | 0:08:34 | 0:08:39 | |
Here. | 0:08:39 | 0:08:41 | |
Here. Here. | 0:08:41 | 0:08:43 | |
There. | 0:08:44 | 0:08:46 | |
It gives you a sense of how often you would have encountered | 0:08:47 | 0:08:52 | |
images like this, reminders of the suffering that Christ had endured. | 0:08:52 | 0:08:57 | |
And here you have them again, | 0:09:02 | 0:09:04 | |
up here in the windows. | 0:09:04 | 0:09:07 | |
There's a crown of thorns, | 0:09:09 | 0:09:11 | |
the rods that were used to beat Christ with nails coming out of them. | 0:09:11 | 0:09:15 | |
There's a hammer with two nails on either side of it. | 0:09:15 | 0:09:19 | |
There's the three dice appearing again. | 0:09:19 | 0:09:24 | |
I don't recognise that. | 0:09:24 | 0:09:26 | |
Oh! Except that it's the wounds. | 0:09:26 | 0:09:28 | |
Those are the five wounds of Christ. | 0:09:28 | 0:09:31 | |
They're always in these groups of five - one for each hand, | 0:09:31 | 0:09:34 | |
one for each foot, and one for the heart. | 0:09:34 | 0:09:36 | |
And they're... Eurgh! | 0:09:36 | 0:09:38 | |
They're pouring blood. | 0:09:38 | 0:09:41 | |
It's a very visceral, powerful image. | 0:09:41 | 0:09:45 | |
Cathy, I've been exploring those images | 0:09:48 | 0:09:50 | |
of the instruments of the Passion and I'm amazed | 0:09:50 | 0:09:53 | |
by just how many of them there are there. What were they intended to achieve? | 0:09:53 | 0:09:57 | |
This emphasis on thinking about Christ's suffering has a great deal | 0:09:57 | 0:10:01 | |
to do with lifting Christ's death | 0:10:01 | 0:10:03 | |
out of the historical context of dying, | 0:10:03 | 0:10:07 | |
you know, in the first part of the 1st century AD, as it were, | 0:10:07 | 0:10:10 | |
and an idea that Christ is dying all the time, | 0:10:10 | 0:10:14 | |
that he's suffering all the time. | 0:10:14 | 0:10:17 | |
And every time you do something wrong, | 0:10:17 | 0:10:19 | |
like the people who originally crucified him made him suffer, | 0:10:19 | 0:10:23 | |
you make him suffer in the same way. | 0:10:23 | 0:10:25 | |
And if you're aware that what you do makes Christ suffer, | 0:10:25 | 0:10:29 | |
then you can make amends for it. And these devotions | 0:10:29 | 0:10:32 | |
play a very good part in that, | 0:10:32 | 0:10:34 | |
in bringing these things to one's consciousness. | 0:10:34 | 0:10:35 | |
They were there to influence people's day-to-day behaviour. | 0:10:35 | 0:10:38 | |
Because they're such vivid and imaginative images, | 0:10:38 | 0:10:42 | |
-they make people feel. -Mm. | 0:10:42 | 0:10:44 | |
And it's making people feel that enables them to understand. | 0:10:44 | 0:10:49 | |
And this would enable people to feel that Christ was on their side as well. | 0:10:49 | 0:10:54 | |
When you sit here, where medieval people would have sat, | 0:11:01 | 0:11:06 | |
and you contemplate these... | 0:11:06 | 0:11:08 | |
bits of glass and these tiles, just as they would have contemplated them, | 0:11:08 | 0:11:14 | |
I understand how you could look at these images | 0:11:14 | 0:11:19 | |
and feel your way into them | 0:11:19 | 0:11:21 | |
by breaking down and unpacking the Crucifixion. | 0:11:21 | 0:11:25 | |
By focusing on each element of the Passion, | 0:11:25 | 0:11:29 | |
you would feel what had happened more and more and more. | 0:11:29 | 0:11:35 | |
Increasingly, people identified their lives | 0:11:39 | 0:11:42 | |
with the life and death of Jesus. | 0:11:42 | 0:11:44 | |
The Crucifixion embodied the awful reality of their own mortality. | 0:11:44 | 0:11:49 | |
Although you didn't know when death would come, | 0:11:49 | 0:11:53 | |
you fervently believed that it wasn't the end. | 0:11:53 | 0:11:57 | |
Our medieval churches would be changed dramatically | 0:12:03 | 0:12:07 | |
by one particular conviction about the afterlife. | 0:12:07 | 0:12:10 | |
It became an obsession for the medieval Christian. | 0:12:10 | 0:12:13 | |
The fate for anybody who died without having confessed | 0:12:14 | 0:12:19 | |
and repented of their sins, was the state known as purgatory. | 0:12:19 | 0:12:25 | |
Purgatory was not hell, | 0:12:25 | 0:12:27 | |
it was a kind of outpatients' department of hell, | 0:12:27 | 0:12:31 | |
a place where you would be punished for the sins | 0:12:31 | 0:12:35 | |
that you had not confessed and been absolved of in your life. | 0:12:35 | 0:12:39 | |
Often the punishment fitted the crime, | 0:12:39 | 0:12:42 | |
so that gluttons, for example, would be fed on a diet of snakes and worms. | 0:12:42 | 0:12:48 | |
Or the greedy would be fed on molten gold until they sickened of it, | 0:12:48 | 0:12:53 | |
the purpose being to purge you of these sins. | 0:12:53 | 0:12:57 | |
But purgatory could be avoided, | 0:12:57 | 0:12:59 | |
or at least, your time in it could be reduced, | 0:12:59 | 0:13:02 | |
by living well and by dying well. | 0:13:02 | 0:13:05 | |
It was too big a risk to wait until your final breath | 0:13:07 | 0:13:10 | |
before contemplating the eternal fate of your soul. | 0:13:10 | 0:13:13 | |
Far better to make preparation | 0:13:13 | 0:13:16 | |
for Judgment Day while you were alive and well. | 0:13:16 | 0:13:19 | |
And the interiors of many of our churches benefited from this need to prepare | 0:13:19 | 0:13:24 | |
for death, as it was thought that gifts to your parish church | 0:13:24 | 0:13:28 | |
could ease your way through purgatory. | 0:13:28 | 0:13:30 | |
I've come here | 0:13:30 | 0:13:32 | |
to All Saints, Bristol, to find the story of just one woman - | 0:13:32 | 0:13:36 | |
Alice Chestre - who, like tens of thousands up and down the country, | 0:13:36 | 0:13:41 | |
was concerned with the remembrance of her soul after her death. | 0:13:41 | 0:13:45 | |
And what I want to find out is what she left behind. | 0:13:45 | 0:13:49 | |
-Hello. -Hello. | 0:13:51 | 0:13:52 | |
-I'm Richard. -I'm Peter. | 0:13:52 | 0:13:54 | |
This church is now a Christian education centre. | 0:13:54 | 0:13:57 | |
It might look as though Alice is long forgotten, but a very special record - | 0:13:57 | 0:14:01 | |
The All Saints Church Book - reveals her legacy. | 0:14:01 | 0:14:06 | |
-OK. What did she give? -Well, there's an awful lot of stuff. | 0:14:06 | 0:14:09 | |
Towels, jugs, and ewers and that sort of thing, and torches, | 0:14:09 | 0:14:14 | |
these are big candles, | 0:14:14 | 0:14:15 | |
to just about every church in the middle of Bristol, | 0:14:15 | 0:14:18 | |
down to... | 0:14:18 | 0:14:20 | |
"being in good prosperity", absolutely in good prosperity, | 0:14:20 | 0:14:23 | |
"and health of body, has led to be made a new rood screen | 0:14:23 | 0:14:27 | |
"at her own proper cost". | 0:14:27 | 0:14:29 | |
What did Alice fear might happen to her, | 0:14:29 | 0:14:32 | |
and how did she think that these gifts were going to help? | 0:14:32 | 0:14:36 | |
Well, in common with everybody else, she was very worried about purgatory. | 0:14:36 | 0:14:40 | |
So, basically, when you die, | 0:14:40 | 0:14:43 | |
if you've been very, very bad indeed you go straight to hell. | 0:14:43 | 0:14:46 | |
If you've been very, very good you go to heaven. | 0:14:46 | 0:14:48 | |
But most people, they go to purgatory. | 0:14:48 | 0:14:50 | |
But at the end of that, you go to heaven and that's for eternity. | 0:14:50 | 0:14:54 | |
So to get there, somebody like Alice Chestre is doing good works. | 0:14:54 | 0:14:59 | |
Basically, it's a kind of spiritual economy. | 0:14:59 | 0:15:02 | |
You want to have made recompense | 0:15:02 | 0:15:05 | |
for as much sin as possible, | 0:15:05 | 0:15:08 | |
and to ease your passage through purgatory. | 0:15:08 | 0:15:10 | |
Many medieval Christians like Alice | 0:15:14 | 0:15:17 | |
made bequests to secure a place in heaven. | 0:15:17 | 0:15:20 | |
But there was a more ostentatious method of chipping away | 0:15:20 | 0:15:24 | |
at your time in purgatory - | 0:15:24 | 0:15:26 | |
the chantry chapel. | 0:15:26 | 0:15:27 | |
Churches up and down the land were built, | 0:15:29 | 0:15:32 | |
rebuilt and modified to accommodate these memorials | 0:15:32 | 0:15:36 | |
to the dead. | 0:15:36 | 0:15:38 | |
Chantry chapels housed the tomb of their wealthy founder, | 0:15:39 | 0:15:43 | |
and also an altar, around which priests were paid to say Mass | 0:15:43 | 0:15:47 | |
for their soul's redemption. | 0:15:47 | 0:15:49 | |
This one is tucked away inside the parish church | 0:15:50 | 0:15:53 | |
at Dennington in Suffolk. | 0:15:53 | 0:15:56 | |
Gosh! What a fine church. | 0:16:04 | 0:16:06 | |
I'm struggling to find my way into this one. | 0:16:08 | 0:16:11 | |
And of course, they were a chantry chapel for a particular individual. | 0:16:11 | 0:16:15 | |
So actually, the only access that you really wanted was for the priests. | 0:16:15 | 0:16:19 | |
You certainly didn't want any common people coming in. | 0:16:19 | 0:16:22 | |
Here we go. | 0:16:24 | 0:16:25 | |
You can even tell that by the spikes on the door. | 0:16:28 | 0:16:31 | |
Chantry chapels were... the Belgravia of death. | 0:16:33 | 0:16:38 | |
You'd set them up just for yourself. | 0:16:38 | 0:16:41 | |
But here, you have the people who endowed the chantry | 0:16:41 | 0:16:47 | |
lying in prayer for eternity. | 0:16:47 | 0:16:51 | |
I always find this a knockout when I visit places like this. | 0:16:51 | 0:16:55 | |
But when these were put here, | 0:16:55 | 0:16:57 | |
these costumes were contemporary, | 0:16:57 | 0:16:59 | |
this is what people were wearing at the time. | 0:16:59 | 0:17:02 | |
At her head, | 0:17:02 | 0:17:03 | |
she's being cradled on a cushion by two angels on either side, | 0:17:03 | 0:17:08 | |
both of whom are looking heavenward. | 0:17:08 | 0:17:11 | |
Here you've got his sword firmly in place, at his side. | 0:17:11 | 0:17:15 | |
It's so realistic, you feel as if you could just give it a tug | 0:17:15 | 0:17:18 | |
and pull it out now, and he'd be jumping up | 0:17:18 | 0:17:21 | |
and back at war. | 0:17:21 | 0:17:23 | |
They're very fine. | 0:17:23 | 0:17:25 | |
And then at this end, | 0:17:25 | 0:17:28 | |
this is the raised area | 0:17:28 | 0:17:30 | |
where the priest would have been saying Masses for the dead. | 0:17:30 | 0:17:33 | |
And I suspect for these people, | 0:17:33 | 0:17:35 | |
they would have given a sufficient endowment | 0:17:35 | 0:17:38 | |
for Masses to be said for their souls forever. | 0:17:38 | 0:17:42 | |
BELL TOLLS | 0:17:42 | 0:17:47 | |
Roy, I've had a look around the glorious chantry chapel | 0:17:52 | 0:17:57 | |
that you've got here, and I've done my best to work out what's going on | 0:17:57 | 0:18:01 | |
but I don't actually know who these people were. | 0:18:01 | 0:18:03 | |
What can you tell me about them? | 0:18:03 | 0:18:05 | |
He is Sir William Phelip, who married Lady Joan Bardolph | 0:18:05 | 0:18:10 | |
and therefore became Lord Bardolph in her right. | 0:18:10 | 0:18:15 | |
He fought at Agincourt and was a Garter Knight. | 0:18:15 | 0:18:18 | |
He was a person of national repute, and she was very much a lady. | 0:18:18 | 0:18:23 | |
What sort of money would it have taken to set up | 0:18:23 | 0:18:27 | |
a chantry chapel like this and have priests saying Masses for your soul? | 0:18:27 | 0:18:32 | |
He gave £20 per annum | 0:18:32 | 0:18:35 | |
to pay two chantry priests to offer Mass daily for the Bardolph family. | 0:18:35 | 0:18:42 | |
And this church would have been filled with the sound of the murmuring | 0:18:42 | 0:18:47 | |
of Masses being said for the dead, day in, day out. | 0:18:47 | 0:18:50 | |
Yes. And the Sanctus bell booming out from the tower at the climax of the Mass, | 0:18:50 | 0:18:55 | |
so that all the people in the fields and in the homes would pause. | 0:18:55 | 0:19:01 | |
It was worth what you paid to know | 0:19:01 | 0:19:04 | |
that you were being remembered before God daily. | 0:19:04 | 0:19:09 | |
BELL TOLLS, CHORISTERS SING | 0:19:09 | 0:19:15 | |
Some families went overboard on how much they paid. | 0:19:30 | 0:19:35 | |
And nowhere more so than in Scotland. | 0:19:35 | 0:19:37 | |
The Scottish nobility | 0:19:37 | 0:19:39 | |
seem to have been particularly concerned for their souls. | 0:19:39 | 0:19:43 | |
This church at Seton, east of Edinburgh, is one enormous chantry. | 0:19:45 | 0:19:50 | |
Well, if you ever doubted how seriously | 0:19:52 | 0:19:56 | |
people took the idea of purgatory, come here. | 0:19:56 | 0:20:01 | |
This entire church is built for one purpose, | 0:20:01 | 0:20:06 | |
and that is to protect the souls of the dead of one family, | 0:20:06 | 0:20:11 | |
the local lairds - the Seton family. | 0:20:11 | 0:20:14 | |
And, as well as building this church for that purpose, they left an endowment | 0:20:14 | 0:20:20 | |
for priests to say Masses for their souls - | 0:20:20 | 0:20:23 | |
several tending the altar up there, two tending another altar here, | 0:20:23 | 0:20:27 | |
two another altar there. | 0:20:27 | 0:20:28 | |
All of these resources pouring into one family. | 0:20:28 | 0:20:33 | |
Not clothing the naked or feeding the hungry, | 0:20:33 | 0:20:37 | |
not even saying prayers for somebody else. Just them. | 0:20:37 | 0:20:41 | |
But it's difficult in a place like this, | 0:20:41 | 0:20:44 | |
at 500 years' distance, to feel that outraged, | 0:20:44 | 0:20:49 | |
because it is so very beautiful. | 0:20:49 | 0:20:52 | |
While the wealthy spent a fortune to ensure their souls' speedy passage | 0:20:59 | 0:21:03 | |
through purgatory, the poor relied on friends in high places - | 0:21:03 | 0:21:07 | |
the saints. | 0:21:07 | 0:21:09 | |
One of the most popular saints then | 0:21:10 | 0:21:12 | |
is still well-known to us now - St Christopher, the patron saint | 0:21:12 | 0:21:18 | |
of travellers. | 0:21:18 | 0:21:19 | |
St Christophers are familiar to us from a thousand travellers' medallions, | 0:21:29 | 0:21:34 | |
but this is the daddy of them. | 0:21:34 | 0:21:38 | |
The legend was that St Christopher was a devil-worshipper originally, | 0:21:38 | 0:21:42 | |
who converted to Christianity. | 0:21:42 | 0:21:44 | |
And, as part of his duties, he escorted people across a swollen river. | 0:21:44 | 0:21:50 | |
One day a small boy came to him and asked to be carried across the river. | 0:21:51 | 0:21:57 | |
He did this, but the weight of the boy was tremendous. | 0:21:57 | 0:22:02 | |
He got him across, but when he'd got to the other side and let the boy down, | 0:22:02 | 0:22:06 | |
the boy told him that he had carried the weight of the world | 0:22:06 | 0:22:11 | |
and of the creator of the world. And, of course, | 0:22:11 | 0:22:14 | |
the boy was Jesus, the infant Jesus. | 0:22:14 | 0:22:18 | |
The name Christopher means "Christ carrier". | 0:22:18 | 0:22:21 | |
You wanted to see images like this at least once a day | 0:22:21 | 0:22:25 | |
because, if you saw an image of St Christopher, | 0:22:25 | 0:22:28 | |
then you would not die that day unshriven. | 0:22:28 | 0:22:32 | |
In other words, they wouldn't die without their sins having been confessed. | 0:22:32 | 0:22:38 | |
I love the idea that people in the Middle Ages | 0:22:39 | 0:22:42 | |
might have just popped into the church door there, | 0:22:42 | 0:22:45 | |
just to have a quick look at St Christopher, | 0:22:45 | 0:22:47 | |
before going about their daily business. | 0:22:47 | 0:22:49 | |
But why St Christopher? | 0:22:50 | 0:22:53 | |
What was it about looking at him as opposed to any other saint? | 0:22:53 | 0:22:58 | |
You're crossing from life into death, | 0:22:58 | 0:23:02 | |
and it was the man who'd carried Christ | 0:23:02 | 0:23:06 | |
who would give you comfort in that crossing. | 0:23:06 | 0:23:08 | |
Your crossing into the next world mattered just as much as life itself. | 0:23:19 | 0:23:27 | |
Everyone believed literally in the Day of Judgment, | 0:23:27 | 0:23:30 | |
when their sins would be weighed in front of the risen Christ. | 0:23:30 | 0:23:35 | |
Holy Trinity in Coventry | 0:23:42 | 0:23:44 | |
has the most compelling medieval depiction of this scene in Britain. | 0:23:44 | 0:23:48 | |
So this is it. This is the end. | 0:23:54 | 0:23:56 | |
This is the Day of Judgment. | 0:23:56 | 0:24:00 | |
This is what it's all been there for - | 0:24:00 | 0:24:03 | |
all those prayers, all those good works, | 0:24:03 | 0:24:06 | |
all that repentance, | 0:24:06 | 0:24:08 | |
all that expenditure on items and on chantry chapels. | 0:24:08 | 0:24:12 | |
You rise from the grave, often in your burial clothes, | 0:24:12 | 0:24:17 | |
and stand before the judgment seat of Christ. | 0:24:17 | 0:24:22 | |
The just are ushered into heaven | 0:24:22 | 0:24:24 | |
and the damned are condemned to hell. | 0:24:24 | 0:24:27 | |
This scene has been described as being about control and dominance. | 0:24:30 | 0:24:35 | |
But what would you have felt if you were a medieval person | 0:24:35 | 0:24:39 | |
standing down here, seeing it from where it was meant to be seen? | 0:24:39 | 0:24:44 | |
You would have seen the rood, the crucifix below the arch there. | 0:24:44 | 0:24:49 | |
That sacrifice for your sins and for everybody's sins. | 0:24:49 | 0:24:54 | |
You would see Christ there in judgment showing his wounds, | 0:24:54 | 0:24:59 | |
not as a stern judge, | 0:24:59 | 0:25:01 | |
but as a fellow sufferer, sharing his humanity with you. | 0:25:01 | 0:25:05 | |
You'd see the saints beneath Christ, pleading for your soul. | 0:25:05 | 0:25:10 | |
And the whole thing told with these little touches of medieval humour. | 0:25:10 | 0:25:16 | |
The ale wives in their ridiculous headdresses being pulled down to hell | 0:25:16 | 0:25:21 | |
for selling watered-down beer. | 0:25:21 | 0:25:24 | |
And lined up for judgment | 0:25:24 | 0:25:27 | |
are kings in their crowns, are clergy in their red cardinal's hats. | 0:25:27 | 0:25:32 | |
The rich with the poor, | 0:25:32 | 0:25:34 | |
the powerful with the weak. | 0:25:34 | 0:25:36 | |
There must have been some comfort | 0:25:36 | 0:25:38 | |
that, at the day of final judgment, everybody would be judged together. | 0:25:38 | 0:25:44 | |
Like the cadaver tomb, | 0:25:44 | 0:25:46 | |
this isn't an image that's designed to terrorise you with death. | 0:25:46 | 0:25:51 | |
It's an image designed to encourage you about how to live. | 0:25:51 | 0:25:56 | |
And put like that, is it any wonder that medieval men and women | 0:25:56 | 0:26:01 | |
embraced this drama | 0:26:01 | 0:26:03 | |
of life and death, and life after death? | 0:26:03 | 0:26:08 | |
But soon there would be a seismic upheaval in this system of belief. | 0:26:19 | 0:26:24 | |
Crucifixes, saints | 0:26:25 | 0:26:27 | |
and prayers for the dead that comforted so many for centuries | 0:26:27 | 0:26:31 | |
would be obliterated. | 0:26:31 | 0:26:33 | |
This church in Kedington in Suffolk, holds a clue | 0:26:35 | 0:26:38 | |
to the dramatic change that turned Christianity | 0:26:38 | 0:26:41 | |
and the church on its head. | 0:26:41 | 0:26:43 | |
You are surrounded here by images of death, | 0:27:00 | 0:27:03 | |
by skulls and bones, and monuments to the departed. | 0:27:03 | 0:27:08 | |
The choice between heaven and hell | 0:27:08 | 0:27:10 | |
and the reality of the afterlife were still very much with you. | 0:27:10 | 0:27:15 | |
But as you move deeper into the church, | 0:27:15 | 0:27:17 | |
you see that there's something terribly wrong. | 0:27:17 | 0:27:21 | |
This is the old church rood screen | 0:27:21 | 0:27:25 | |
that once was lined with images of the saints, | 0:27:25 | 0:27:28 | |
but which now have been aggressively scrubbed out | 0:27:28 | 0:27:31 | |
and the screen ripped out | 0:27:31 | 0:27:33 | |
from where it once stood in the heart of the church | 0:27:33 | 0:27:36 | |
and used for a completely new purpose... | 0:27:36 | 0:27:39 | |
as a pew. | 0:27:39 | 0:27:41 | |
There was no time now for dooms and chantries, or saints or crucifixes. | 0:27:41 | 0:27:48 | |
A new age was coming | 0:27:48 | 0:27:50 | |
with wholly new ideas about God and how he should be worshipped. | 0:27:50 | 0:27:54 | |
Next time, | 0:27:54 | 0:27:57 | |
I'll be exploring how a clash of ideologies spawned an English church | 0:27:57 | 0:28:01 | |
unrecognisable from all that had gone before. | 0:28:01 | 0:28:05 | |
I'll be discovering how, in the 16th and 17th centuries, | 0:28:05 | 0:28:09 | |
destruction and innovation went hand-in-hand in the Reformation. | 0:28:09 | 0:28:16 | |
Subtitles by Red Bee Media Ltd | 0:28:16 | 0:28:19 | |
E-mail [email protected] | 0:28:19 | 0:28:22 |