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A-ha, so there it is. | 0:00:18 | 0:00:20 | |
As you can see, I'm in Venice. | 0:01:10 | 0:01:13 | |
This is film three of The Renaissance Unchained. | 0:01:14 | 0:01:19 | |
And in it, I'm hoping to discover | 0:01:19 | 0:01:22 | |
why Venetian art was so different from everyone else's. | 0:01:22 | 0:01:28 | |
How did they end up painting this? | 0:01:30 | 0:01:33 | |
Or this? | 0:01:35 | 0:01:36 | |
Or, God forbid, this? | 0:01:37 | 0:01:41 | |
To find out, I need to start where everyone starts, | 0:01:44 | 0:01:48 | |
when they come to Venice. | 0:01:48 | 0:01:50 | |
In St Mark's Square. | 0:01:51 | 0:01:53 | |
There's a painting of this square from exactly here, | 0:01:58 | 0:02:01 | |
by Gentile Bellini, | 0:02:01 | 0:02:03 | |
one of the famous family of painters who did so much for Venetian art. | 0:02:03 | 0:02:08 | |
It shows a procession passing in front of St Mark's Cathedral. | 0:02:12 | 0:02:16 | |
And they're carrying a famous relic. | 0:02:17 | 0:02:20 | |
The relic of the True Cross. | 0:02:20 | 0:02:23 | |
Part of the actual cross on which Jesus was crucified. | 0:02:23 | 0:02:27 | |
Or so they thought. | 0:02:28 | 0:02:29 | |
But the real subject of the picture | 0:02:33 | 0:02:35 | |
is the chap kneeling here in the crowd. | 0:02:35 | 0:02:38 | |
He's a merchant from Brescia called Jacopo de' Salis, | 0:02:38 | 0:02:43 | |
who's just found out that his son has fallen over, | 0:02:43 | 0:02:47 | |
and broken open his head. | 0:02:47 | 0:02:48 | |
The doctors say he's going to die | 0:02:51 | 0:02:53 | |
so Jacopo is praying to the True Cross to save him. | 0:02:53 | 0:02:57 | |
And when he goes home the next day to Brescia, | 0:02:58 | 0:03:01 | |
he finds that his son has made a miraculous recovery. | 0:03:01 | 0:03:05 | |
Apart from recording this great miracle, Bellini's painting | 0:03:09 | 0:03:13 | |
gives us a vivid insight into the social fabric of Renaissance Venice. | 0:03:13 | 0:03:19 | |
Standing over here are some merchants from Greece. | 0:03:19 | 0:03:23 | |
We know they're Greeks because of their hats. | 0:03:25 | 0:03:28 | |
Only the Greek merchants wore black, wide-rimmed hats. | 0:03:28 | 0:03:32 | |
Up in the windows, | 0:03:36 | 0:03:37 | |
there's a line of elegant ladies hanging out oriental carpets. | 0:03:37 | 0:03:42 | |
And a couple of them are veiled. | 0:03:42 | 0:03:44 | |
Mysterious travellers from the Islamic East. | 0:03:45 | 0:03:49 | |
Over here, two Arab traders have turned their backs on us. | 0:03:52 | 0:03:56 | |
And round about here, there's a trio of Turks, | 0:04:02 | 0:04:05 | |
merchants from Constantinople | 0:04:05 | 0:04:08 | |
come to do business with the infidel. | 0:04:08 | 0:04:10 | |
Turks, Greeks, Arabs, | 0:04:15 | 0:04:19 | |
nowhere else in Europe did the East meet the West | 0:04:19 | 0:04:24 | |
as intimately as it did in Venice. | 0:04:24 | 0:04:27 | |
In Venice, no-one cared where you came from, | 0:04:29 | 0:04:33 | |
as long as you were selling something. | 0:04:33 | 0:04:36 | |
Something else you can see clearly in the Bellini painting, | 0:04:39 | 0:04:42 | |
particularly when you get back here, is how the outline of all this, | 0:04:42 | 0:04:47 | |
the entire Piazza of San Marco, | 0:04:47 | 0:04:50 | |
was borrowed from the layout of an Islamic mosque. | 0:04:50 | 0:04:50 | |
St Mark's Square is a Venetian version | 0:04:50 | 0:04:54 | |
of the Great Mosque at Damascus. | 0:05:01 | 0:05:04 | |
The golden mosaics, | 0:05:06 | 0:05:09 | |
the colonnades... | 0:05:09 | 0:05:11 | |
..that clear sense of a rectangle. | 0:05:12 | 0:05:15 | |
It's all there. | 0:05:17 | 0:05:18 | |
Now, another of these paintings of the True Cross, | 0:05:22 | 0:05:25 | |
this one by Carpaccio, | 0:05:25 | 0:05:27 | |
is set around here, near the Rialto Bridge. | 0:05:27 | 0:05:31 | |
The Rialto, the market of Venice, | 0:05:34 | 0:05:37 | |
was an oriental bazaar transferred from Cairo to Italy. | 0:05:37 | 0:05:43 | |
Silk, | 0:05:44 | 0:05:46 | |
spices, | 0:05:46 | 0:05:49 | |
slaves, | 0:05:49 | 0:05:51 | |
they were all on sale in the Rialto. | 0:05:51 | 0:05:54 | |
And all these foreign presences | 0:05:56 | 0:05:58 | |
seeped into the art that was made here, | 0:05:58 | 0:06:02 | |
and changed it. | 0:06:02 | 0:06:04 | |
Something else they were importing here in Venice was pigment. | 0:06:07 | 0:06:12 | |
Bright new colours from around the world. | 0:06:12 | 0:06:14 | |
In Venice, the colours of the East arrived in art in quantities | 0:06:16 | 0:06:23 | |
and concentrations that had never been seen before. | 0:06:23 | 0:06:27 | |
From China, there was cinnabar, | 0:06:30 | 0:06:33 | |
ground down to make bright red vermillion. | 0:06:33 | 0:06:37 | |
Then, most precious of all, from Afghanistan, lapis lazuli, | 0:06:37 | 0:06:43 | |
which they used to make the colour they called ultramarine, | 0:06:43 | 0:06:48 | |
which comes from "oltremare", over the sea. | 0:06:48 | 0:06:52 | |
Because that's the other unique influence | 0:06:55 | 0:06:59 | |
working on Venetian art. | 0:06:59 | 0:07:01 | |
Its location. | 0:07:03 | 0:07:04 | |
Well, well, well. | 0:07:20 | 0:07:22 | |
You know, Venice is made out of 116 islands. | 0:07:22 | 0:07:26 | |
All of which have been connected up like a quilt, | 0:07:26 | 0:07:30 | |
to create this thin strip of solidity, | 0:07:30 | 0:07:33 | |
sandwiched between the sky and the sea. | 0:07:33 | 0:07:36 | |
There's nowhere else like Venice. | 0:07:41 | 0:07:44 | |
Floating off the coast of reality. | 0:07:44 | 0:07:46 | |
And these delicate, whispery, fragile moods | 0:07:48 | 0:07:53 | |
soaked into Venetian art... | 0:07:53 | 0:07:56 | |
..and made it unique. | 0:07:57 | 0:07:59 | |
There's a word for this mood you get in Venetian art, | 0:08:04 | 0:08:08 | |
"poesie". | 0:08:08 | 0:08:10 | |
It's sort of poetry | 0:08:10 | 0:08:12 | |
but with mystery thrown in, | 0:08:12 | 0:08:14 | |
so you're never sure what you're looking at. | 0:08:14 | 0:08:17 | |
The master of this poetic mood, | 0:08:20 | 0:08:23 | |
this delightful imprecision, | 0:08:23 | 0:08:26 | |
was the painter christened Giorgio Barbarelli, | 0:08:26 | 0:08:31 | |
better known to us now as Giorgione. | 0:08:31 | 0:08:34 | |
I can't show you a picture of him | 0:08:37 | 0:08:38 | |
because we don't know what he looked like. | 0:08:38 | 0:08:41 | |
He was born in Castel Franco in around 1477. | 0:08:41 | 0:08:46 | |
Revolutionised Venetian art and then died young in his early 30s, | 0:08:46 | 0:08:51 | |
probably killed by the plague. | 0:08:51 | 0:08:54 | |
And that is just about all we know about him. | 0:08:54 | 0:08:56 | |
Except of course what we learn from his art. | 0:09:00 | 0:09:04 | |
Which is always beautiful and always mysterious. | 0:09:04 | 0:09:08 | |
With Giorgione, there are many questions | 0:09:10 | 0:09:14 | |
and very few answers. | 0:09:14 | 0:09:16 | |
Fortunately, you're in good hands here, | 0:09:21 | 0:09:24 | |
because this series has been on his case, | 0:09:24 | 0:09:27 | |
and in this film we're going to solve | 0:09:27 | 0:09:30 | |
some of the mysteries of Giorgione. | 0:09:30 | 0:09:32 | |
In particular, | 0:09:36 | 0:09:38 | |
we're going to get to the bottom of his most famous painting. | 0:09:38 | 0:09:42 | |
The notoriously elusive Venetian masterpiece known as The Tempest. | 0:09:43 | 0:09:50 | |
Nine out of ten art historians will tell you | 0:09:52 | 0:09:56 | |
that The Tempest doesn't have a meaning. | 0:09:56 | 0:09:59 | |
But I think they're wrong. | 0:10:01 | 0:10:03 | |
So what you've got in The Tempest is three figures. | 0:10:08 | 0:10:11 | |
A man, a woman and a baby. | 0:10:11 | 0:10:14 | |
He's standing, she's sitting there naked, | 0:10:14 | 0:10:18 | |
and the baby has just been born. | 0:10:18 | 0:10:21 | |
Behind them, there's a walled city on one side | 0:10:24 | 0:10:28 | |
and some ancient ruins on the other. | 0:10:28 | 0:10:30 | |
But the big clue to The Tempest's meaning is up in the sky, | 0:10:30 | 0:10:34 | |
where a white bird sits on one of the roofs, | 0:10:34 | 0:10:38 | |
and a bolt of lightning is crashing down from the clouds. | 0:10:38 | 0:10:42 | |
There is one story and only one story that fits all these details. | 0:10:46 | 0:10:54 | |
And it's told in here, in Hesiod's Theogony. | 0:10:54 | 0:11:00 | |
A thunderous classical poem, about the origins of the gods. | 0:11:00 | 0:11:05 | |
Hesiod tells of a young man called Iasion | 0:11:07 | 0:11:10 | |
who meets the goddess Demeter at a wedding in Crete. | 0:11:10 | 0:11:15 | |
They have a fling in a nearby field and she gives birth to a baby. | 0:11:15 | 0:11:21 | |
That baby is Plutus, the god of wealth and good fortune. | 0:11:21 | 0:11:25 | |
Alas, Zeus, the father of the gods, | 0:11:30 | 0:11:34 | |
notices the mud on Demeter's backside, | 0:11:34 | 0:11:38 | |
and knows what she's been up to. | 0:11:38 | 0:11:40 | |
Angry and jealous, | 0:11:42 | 0:11:44 | |
he throws a thunderbolt at Iasion, | 0:11:44 | 0:11:47 | |
and kills him. | 0:11:47 | 0:11:48 | |
And that's what's happening in The Tempest. | 0:11:52 | 0:11:55 | |
The angry Zeus has thrown a lightning bolt from heaven, | 0:11:55 | 0:11:59 | |
and Iasion, the uppity mortal, the wedding crasher, | 0:11:59 | 0:12:03 | |
is about to be killed by the father of the gods. | 0:12:03 | 0:12:07 | |
And the baby the stork has brought them, | 0:12:10 | 0:12:13 | |
Plutus, the god of wealth, | 0:12:13 | 0:12:16 | |
is about to be left fatherless, | 0:12:16 | 0:12:20 | |
vulnerable, exposed to the vicissitudes of fortune. | 0:12:20 | 0:12:25 | |
So it's an allegory. | 0:12:29 | 0:12:30 | |
Not just about keeping your zipper zipped, | 0:12:30 | 0:12:33 | |
particularly at weddings, | 0:12:33 | 0:12:35 | |
but about the fragility of good fortune. | 0:12:35 | 0:12:39 | |
The fickleness of fate. | 0:12:39 | 0:12:42 | |
Look how easily the wealth of today can become the ruins of yesterday. | 0:12:42 | 0:12:49 | |
So, The Tempest is a fabulous piece of Venetian self-awareness. | 0:12:53 | 0:12:58 | |
A thin sliver of solidity, | 0:13:00 | 0:13:03 | |
sandwiched between the sky and the sea, | 0:13:03 | 0:13:07 | |
is reminding itself of its prodigious vulnerability. | 0:13:07 | 0:13:11 | |
The vulnerability of Venice made the city especially attentive, as well, | 0:13:22 | 0:13:29 | |
to the messages of religion. | 0:13:29 | 0:13:31 | |
One of the best things about Venice is that | 0:13:36 | 0:13:38 | |
so much of the art here is still in the place for which it was painted. | 0:13:38 | 0:13:43 | |
Not in a museum, not in a gallery, but still here, | 0:13:43 | 0:13:47 | |
hanging where it's supposed to hang. | 0:13:47 | 0:13:50 | |
Doing what it's supposed to do. | 0:13:50 | 0:13:53 | |
In the Church of the Madonna dell'Orto there's much to see. | 0:13:59 | 0:14:03 | |
And two of the biggest canvases painted by the marvellous Tintoretto | 0:14:05 | 0:14:11 | |
loom mightily over both sides of the altar. | 0:14:11 | 0:14:15 | |
On the left, the wayward Israelites are collecting gold | 0:14:19 | 0:14:24 | |
to make the false idol they plan to worship. | 0:14:24 | 0:14:29 | |
A golden calf. | 0:14:29 | 0:14:31 | |
This woman here is even giving away her earrings | 0:14:33 | 0:14:38 | |
to be melted down for the idol. | 0:14:38 | 0:14:41 | |
On the right, Tintoretto has painted the most thunderous scene | 0:14:44 | 0:14:50 | |
of divine retribution in Venetian art. | 0:14:50 | 0:14:55 | |
His Last Judgment. | 0:14:55 | 0:14:56 | |
If you make false gods, this is how you will be punished. | 0:14:58 | 0:15:03 | |
The waters of Venice will crash down around you, | 0:15:05 | 0:15:10 | |
and the end will come in a tsunami of death. | 0:15:10 | 0:15:14 | |
In the Church of the Madonna dell'Orto, | 0:15:17 | 0:15:20 | |
the art points a finger at you. | 0:15:20 | 0:15:24 | |
And warns you. | 0:15:24 | 0:15:25 | |
This, by the way, is where Tintoretto was born. | 0:15:36 | 0:15:39 | |
Just 100 feet away from the Madonna dell'Orto, his local church. | 0:15:39 | 0:15:43 | |
And that's why it meant so much to him. | 0:15:43 | 0:15:47 | |
And only in Venice can you find | 0:15:47 | 0:15:49 | |
such a revealing and intimate context for Renaissance art. | 0:15:49 | 0:15:54 | |
The Church of Santa Maria Gloriosa, | 0:16:00 | 0:16:03 | |
commonly known as the Frari, | 0:16:03 | 0:16:06 | |
is a huge religious space that does something powerful to your senses. | 0:16:06 | 0:16:11 | |
And it was in this tremendous context, | 0:16:13 | 0:16:17 | |
that another Venetian giant, | 0:16:17 | 0:16:20 | |
the great Titian, | 0:16:20 | 0:16:22 | |
painted his most awesome altarpiece. | 0:16:22 | 0:16:25 | |
There it is. | 0:16:28 | 0:16:30 | |
Titian's Assumption. | 0:16:30 | 0:16:32 | |
22 feet high, the biggest altarpiece in Venice. | 0:16:32 | 0:16:37 | |
And, of course, it had to be that big | 0:16:37 | 0:16:39 | |
to have the right kind of religious impact | 0:16:39 | 0:16:43 | |
on this huge and thrilling space. | 0:16:43 | 0:16:46 | |
The Assumption shows the Virgin Mary going up to heaven | 0:16:49 | 0:16:54 | |
at the end of her time on earth. | 0:16:54 | 0:16:56 | |
A feast celebrated annually in the Frari on August 15th. | 0:16:58 | 0:17:04 | |
So, Mary is being received in heaven. | 0:17:06 | 0:17:10 | |
The angels are greeting her with celestial music. | 0:17:10 | 0:17:14 | |
And God himself is welcoming her to his realm. | 0:17:15 | 0:17:19 | |
Down below meanwhile, back on earth, | 0:17:22 | 0:17:25 | |
the Apostles are filled with anxiety and awe at her departure. | 0:17:25 | 0:17:31 | |
In her glowing red robes, Titian's Mary is a pulse-quickening presence. | 0:17:36 | 0:17:43 | |
Until now, no-one in art had used colour | 0:17:44 | 0:17:48 | |
as excitingly and bravely as this. | 0:17:48 | 0:17:52 | |
So it's a great artistic moment. | 0:17:54 | 0:17:57 | |
But, more importantly, a great religious moment. | 0:17:57 | 0:18:02 | |
An interesting thing about the Frari is that the high altar here | 0:18:02 | 0:18:06 | |
is at the west of the church and not the east. | 0:18:06 | 0:18:10 | |
In most Catholic churches it's the other way round. | 0:18:10 | 0:18:15 | |
The high altar is at the east of the church | 0:18:15 | 0:18:19 | |
because that's where the Holy Land is, | 0:18:19 | 0:18:23 | |
and where the sun rises. | 0:18:23 | 0:18:25 | |
Now, when the Frari was first built, in 1338, | 0:18:28 | 0:18:34 | |
it also pointed to the east. | 0:18:34 | 0:18:37 | |
But when the Franciscans enlarged it in 1492, | 0:18:37 | 0:18:43 | |
they swapped round the orientation so it now pointed to the west. | 0:18:43 | 0:18:49 | |
Why they changed it is unclear. | 0:18:53 | 0:18:56 | |
What isn't unclear is the impact the change had on the art in here. | 0:18:56 | 0:19:02 | |
And particularly, on Titian's Assumption. | 0:19:02 | 0:19:05 | |
In the revelations of St John the Apostle - | 0:19:08 | 0:19:12 | |
he's the one in red - | 0:19:12 | 0:19:14 | |
we read that there appeared in heaven | 0:19:14 | 0:19:17 | |
a woman clothed with the sun. | 0:19:17 | 0:19:20 | |
And that woman, clothed with the sun, was Mary. | 0:19:21 | 0:19:25 | |
To evoke that moment, | 0:19:28 | 0:19:30 | |
Titian has silhouetted her against a glorious, golden background. | 0:19:30 | 0:19:36 | |
It is an effect called "contre-jour", against the light. | 0:19:36 | 0:19:40 | |
And its religious function is to separate the heavenly realm | 0:19:40 | 0:19:45 | |
that Mary has just entered, | 0:19:45 | 0:19:48 | |
from our world, the corporeal world where the Apostles still are. | 0:19:48 | 0:19:53 | |
But this golden light isn't just painted. | 0:19:56 | 0:19:59 | |
Because of the new orientation of the church, | 0:20:00 | 0:20:03 | |
the evening light now floods through the windows as well. | 0:20:03 | 0:20:08 | |
And combines with Titian's painted light | 0:20:10 | 0:20:13 | |
to bathe Mary in a miraculous golden glow. | 0:20:13 | 0:20:17 | |
It's a stupendous religious moment. | 0:20:21 | 0:20:24 | |
High above the altar of the Frari, art and light have been | 0:20:24 | 0:20:28 | |
deliberately combined to create a visual miracle, | 0:20:28 | 0:20:33 | |
and every night here in Venice, | 0:20:33 | 0:20:35 | |
but especially on the night of August 15th, | 0:20:35 | 0:20:39 | |
it's as if the Assumption is really happening before us. | 0:20:39 | 0:20:43 | |
Given the mood of Venice, its relationship to light, | 0:20:57 | 0:21:03 | |
there's something very appropriate about the fact that | 0:21:03 | 0:21:06 | |
the city's most celebrated export was glass. | 0:21:06 | 0:21:10 | |
Glass is sort of there and sort of not there. | 0:21:12 | 0:21:17 | |
Just like Venice. | 0:21:17 | 0:21:19 | |
Until the 13th century, | 0:21:22 | 0:21:24 | |
the finest glass imported into Europe came from the Islamic world. | 0:21:24 | 0:21:29 | |
Notably from Syria. | 0:21:29 | 0:21:31 | |
But as Venice got richer and richer, with all that busy trading, | 0:21:31 | 0:21:36 | |
so more and more precious glass was needed for the dining table. | 0:21:36 | 0:21:41 | |
With its excellent contacts in the East, | 0:21:44 | 0:21:48 | |
Venice had a head start when it came to making Renaissance glass... | 0:21:48 | 0:21:54 | |
..and soon became famously good at it. | 0:21:55 | 0:21:59 | |
Since 1291, Venetian glass was made on that island there - | 0:22:02 | 0:22:07 | |
Murano. | 0:22:07 | 0:22:08 | |
The traditional explanation for this isolation | 0:22:11 | 0:22:15 | |
is that the dangerous fires of the glass furnaces | 0:22:15 | 0:22:19 | |
were safer on their own island. | 0:22:19 | 0:22:21 | |
But recent research has suggested that the real reason | 0:22:24 | 0:22:28 | |
the Venetians sent their glass-makers to Murano, | 0:22:28 | 0:22:33 | |
was because they wanted to keep their secrets secret. | 0:22:33 | 0:22:36 | |
So they locked them away on an island | 0:22:38 | 0:22:40 | |
where no-one could reach them. | 0:22:40 | 0:22:42 | |
Knowing how the Venetians are about money, | 0:22:48 | 0:22:52 | |
I'm inclined to believe the second version. | 0:22:52 | 0:22:55 | |
Anyway, this was where glass-making was concentrated | 0:22:55 | 0:22:59 | |
and where its secrets were kept. | 0:22:59 | 0:23:02 | |
By the time the Venetians turned their talents to it, | 0:23:06 | 0:23:10 | |
glass already had an exciting cultural history. | 0:23:10 | 0:23:15 | |
The Romans had made it, the Islamic world, | 0:23:16 | 0:23:21 | |
but it was in Venice that a taste developed | 0:23:21 | 0:23:25 | |
for glass that was particularly pure, | 0:23:25 | 0:23:28 | |
and see-through. | 0:23:28 | 0:23:29 | |
Glass, as you know, has this intimate relationship with light. | 0:23:32 | 0:23:37 | |
The two of them, light and glass, | 0:23:37 | 0:23:41 | |
play beautiful games with each other. | 0:23:41 | 0:23:43 | |
And here in Venice, | 0:23:43 | 0:23:45 | |
in the early days of the Renaissance, | 0:23:45 | 0:23:48 | |
this magical relationship was intensified | 0:23:48 | 0:23:52 | |
with the discovery of a new type of glass called "cristallo". | 0:23:52 | 0:23:56 | |
Cristallo was the invention, they say, of a famous glass-maker | 0:24:01 | 0:24:06 | |
called Angelo Barovier. | 0:24:06 | 0:24:09 | |
And what was unique about it | 0:24:10 | 0:24:12 | |
was that it was completely see-through and pure. | 0:24:12 | 0:24:16 | |
Like rock crystal itself. | 0:24:16 | 0:24:18 | |
And that's why they called it cristallo. | 0:24:19 | 0:24:22 | |
Now, I love all that mythic stuff about glass | 0:24:25 | 0:24:29 | |
and its relationship to light. | 0:24:29 | 0:24:32 | |
And of course, there's something particularly appropriate | 0:24:32 | 0:24:35 | |
about Venice becoming the capital of glass. | 0:24:35 | 0:24:39 | |
But the invention of cristallo by Barovier needs to be understood | 0:24:41 | 0:24:47 | |
as a scientific innovation, not a mythic one. | 0:24:47 | 0:24:52 | |
Off the top of my head, | 0:24:54 | 0:24:56 | |
I can't think of a single Renaissance product that pointed | 0:24:56 | 0:25:00 | |
more firmly to the technological future than cristallo. | 0:25:00 | 0:25:05 | |
To control the temperature of the furnaces, | 0:25:08 | 0:25:12 | |
they used this stuff called soda ash, | 0:25:12 | 0:25:16 | |
made from desert plants harvested by the Bedouins of Syria. | 0:25:16 | 0:25:21 | |
And the silica that was used wasn't your standard desert sand... | 0:25:23 | 0:25:27 | |
..but especially pure quartz crystals... | 0:25:29 | 0:25:32 | |
..found in mountain rivers. | 0:25:33 | 0:25:35 | |
Through these slow improvements | 0:25:41 | 0:25:44 | |
and careful technological refinements, | 0:25:44 | 0:25:47 | |
Barovier finally arrived at a glass | 0:25:47 | 0:25:49 | |
that was totally see-through and pure. | 0:25:49 | 0:25:54 | |
All that effort for something that was hardly there. | 0:25:54 | 0:25:58 | |
And because cristallo was so fragile, | 0:26:02 | 0:26:06 | |
very little of it has survived. | 0:26:06 | 0:26:08 | |
If you want to see how beautiful Venetian glass was, | 0:26:09 | 0:26:15 | |
you have to look for it in Venetian art. | 0:26:15 | 0:26:18 | |
See what Mary Magdalene is using to carry her oil | 0:26:19 | 0:26:24 | |
in Giovanni Bellini's gorgeous altarpiece in San Zaccaria. | 0:26:24 | 0:26:29 | |
Or look what the servants are serving | 0:26:30 | 0:26:33 | |
in Veronese's astounding Supper At The House Of Levi. | 0:26:33 | 0:26:38 | |
Even in paint, the delicate magic of Venetian glass | 0:26:40 | 0:26:45 | |
still speaks to us through the ages. | 0:26:45 | 0:26:48 | |
This is the Ponte de le Tette in Venice. | 0:27:08 | 0:27:10 | |
I am afraid Ponte de le Tette means "bridge of tits". | 0:27:10 | 0:27:15 | |
Sorry, but that's what it means. | 0:27:15 | 0:27:17 | |
The story goes that in an effort to straighten out the burgeoning gay | 0:27:21 | 0:27:26 | |
population of Renaissance Venice | 0:27:26 | 0:27:30 | |
the Venetian authorities instructed | 0:27:30 | 0:27:33 | |
the city's prostitutes to take their tops off on the bridge of tits, | 0:27:33 | 0:27:40 | |
in the forlorn hope that their feminine charms would | 0:27:40 | 0:27:44 | |
straighten out the wayward boys. | 0:27:44 | 0:27:46 | |
Sex really was an issue in this city. | 0:27:50 | 0:27:53 | |
They reckon there were 12,000 prostitutes | 0:27:53 | 0:27:56 | |
working in Renaissance Venice. | 0:27:56 | 0:27:58 | |
Out of a population of 100,000. | 0:27:58 | 0:28:01 | |
So one in ten inhabitants was on the game, | 0:28:01 | 0:28:05 | |
and many of the travellers who came here came for the sex. | 0:28:05 | 0:28:09 | |
It was Venice that invented the reclining Venus. | 0:28:12 | 0:28:17 | |
The goddess of love, stretched out naked on her bed. | 0:28:17 | 0:28:22 | |
Just so she can be ogled. | 0:28:23 | 0:28:25 | |
The first of these reclining Venuses was painted by Giorgione - | 0:28:30 | 0:28:35 | |
the great Sleeping Venus in Dresden. | 0:28:35 | 0:28:39 | |
As with all Giorgione's art, there's an air of mystery about her, | 0:28:42 | 0:28:47 | |
that fills your thoughts with endless speculation. | 0:28:47 | 0:28:52 | |
But the master of the Venetian Venus, | 0:28:58 | 0:29:00 | |
the keenest painter of the subject, was Titian, | 0:29:00 | 0:29:04 | |
the arch-sensualist of Venetian art. | 0:29:04 | 0:29:08 | |
Even in his religious pictures, Titian makes very little effort | 0:29:10 | 0:29:16 | |
to disguise his notorious passion for women. | 0:29:16 | 0:29:20 | |
In real life, he was the scourge of the studio, | 0:29:22 | 0:29:27 | |
notorious for pleasuring his models. | 0:29:27 | 0:29:30 | |
And in his mythologies, all that desire | 0:29:32 | 0:29:36 | |
and naughtiness comes pouring out like water from a fountain. | 0:29:36 | 0:29:42 | |
There is a room at the Prado Museum in Madrid that's filled entirely | 0:29:47 | 0:29:52 | |
with these sensual imaginings by Titian. | 0:29:52 | 0:29:55 | |
Most of the reclining nudes are Venuses. | 0:29:58 | 0:30:02 | |
But the one I'd like to focus on is Danae. | 0:30:03 | 0:30:07 | |
Why? | 0:30:08 | 0:30:10 | |
Well, that's pretty obvious, isn't it? | 0:30:10 | 0:30:13 | |
I think Titian's Danae | 0:30:13 | 0:30:16 | |
is the most outrageously sensuous picture in Renaissance art. | 0:30:16 | 0:30:22 | |
Danae was the beautiful daughter of the King of Argos, | 0:30:25 | 0:30:29 | |
and one day a prophet tells the king that he is going to be | 0:30:29 | 0:30:33 | |
killed by his daughter's son. | 0:30:33 | 0:30:35 | |
So he locks Danae up in a vault, where no-one can reach her. | 0:30:35 | 0:30:40 | |
Oh, yes, they can. | 0:30:43 | 0:30:45 | |
Zeus, the randiest of the gods, | 0:30:45 | 0:30:49 | |
sees Danae in her cell, | 0:30:49 | 0:30:52 | |
and desires her. | 0:30:52 | 0:30:54 | |
And handily disguised as a shower of gold, | 0:30:56 | 0:31:00 | |
he comes down to her and impregnates her. | 0:31:00 | 0:31:04 | |
Later on, outside the picture, as it were, she has a son, Perseus. | 0:31:09 | 0:31:14 | |
And the son kills her father, the King. | 0:31:14 | 0:31:17 | |
So the prophecy comes true. | 0:31:17 | 0:31:20 | |
Sex, gold, a beautiful princess, | 0:31:23 | 0:31:28 | |
the Danae story was popular all round the Renaissance. | 0:31:28 | 0:31:33 | |
But what I want to focus on here is Zeus. | 0:31:34 | 0:31:38 | |
The master of disguise with the morals of a dog. | 0:31:39 | 0:31:44 | |
Now, a large chunk of Greek mythology is devoted | 0:31:49 | 0:31:53 | |
to the sexual conquests of Zeus. | 0:31:53 | 0:31:56 | |
The Venetians couldn't get enough of them. | 0:31:56 | 0:31:58 | |
And another story painted by Titian was Europa and the bull. | 0:31:58 | 0:32:05 | |
Europa, who gave her name to Europe, | 0:32:09 | 0:32:12 | |
was a highborn Venetian princess. | 0:32:12 | 0:32:15 | |
But Zeus decided he wanted her. | 0:32:17 | 0:32:20 | |
So he disguised himself as a bull, | 0:32:22 | 0:32:26 | |
and when she got up on his back, | 0:32:26 | 0:32:29 | |
the bull thundered into the sea and abducted her. | 0:32:29 | 0:32:33 | |
And it wasn't just Titian and the Venetians who enjoyed all this | 0:32:37 | 0:32:40 | |
donning of disguises by the randy Zeus. | 0:32:40 | 0:32:44 | |
The entire Renaissance seemed much taken with the possibilities. | 0:32:44 | 0:32:49 | |
Here's Michelangelo's Leda And The Swan. | 0:32:52 | 0:32:56 | |
The original's lost, so this is a copy by Rosso Fiorentino. | 0:32:56 | 0:33:01 | |
Zeus has come down to Leda disguised as a swan. | 0:33:03 | 0:33:07 | |
Why a swan? | 0:33:08 | 0:33:11 | |
Well, this is a family film so you'll just have to imagine it. | 0:33:11 | 0:33:16 | |
But the most cunning of Zeus's many disguises | 0:33:19 | 0:33:23 | |
is the one he adopted to seduce the lovely Io, | 0:33:23 | 0:33:29 | |
painted here by Correggio. | 0:33:29 | 0:33:31 | |
To get to Io, Zeus transformed himself into a cloud, | 0:33:33 | 0:33:40 | |
and took her when she didn't even know she was being taken. | 0:33:40 | 0:33:45 | |
Now, the Renaissance was supposed to be this great | 0:33:49 | 0:33:52 | |
rebirth of civilisation. | 0:33:52 | 0:33:54 | |
A triumph of knowledge and all that. | 0:33:54 | 0:33:56 | |
So how come it was so interested in the bed-hopping antics of Zeus? | 0:33:56 | 0:34:03 | |
Well, one answer, the obvious answer, | 0:34:03 | 0:34:06 | |
is that it wasn't really a rebirth of civilisation at all. | 0:34:06 | 0:34:10 | |
And that the forces coursing through the Renaissance | 0:34:10 | 0:34:14 | |
were the same old darknesses | 0:34:14 | 0:34:17 | |
that have always coursed through us humans. | 0:34:17 | 0:34:20 | |
Something else that Venice was importing from the East | 0:34:41 | 0:34:44 | |
in immodest quantities | 0:34:44 | 0:34:47 | |
was cloth. | 0:34:47 | 0:34:48 | |
Silks, | 0:34:49 | 0:34:51 | |
satins, | 0:34:51 | 0:34:52 | |
damasks. | 0:34:52 | 0:34:53 | |
The textiles of the East brought | 0:34:55 | 0:34:57 | |
a glistening gorgeousness to Venetian art, | 0:34:57 | 0:35:01 | |
that was exciting and new. | 0:35:01 | 0:35:04 | |
The silk was imported mostly from Persia, | 0:35:09 | 0:35:13 | |
and then woven here in Venice into these famously sumptuous designs. | 0:35:13 | 0:35:19 | |
And sent off around Europe to dazzle everyone lucky enough to see it. | 0:35:19 | 0:35:24 | |
We know this because it is recorded superbly in Venetian art. | 0:35:27 | 0:35:32 | |
Look at the snazzy robes in which Titian dresses | 0:35:34 | 0:35:38 | |
Joseph of Arimathea in his great Entombment, at the Prado. | 0:35:38 | 0:35:43 | |
Is that really the right gear for an entombment? | 0:35:44 | 0:35:48 | |
But the cloth-painter supreme among the Venetians | 0:35:51 | 0:35:54 | |
was Paolo Veronese, | 0:35:54 | 0:35:57 | |
whose gorgeous fabrics | 0:35:57 | 0:36:00 | |
look as if they've been woven not just from silk, | 0:36:00 | 0:36:04 | |
but from light itself. | 0:36:04 | 0:36:06 | |
Veronese's art is like an advert for Venetian textiles. | 0:36:12 | 0:36:18 | |
He painted all sorts of pictures. | 0:36:18 | 0:36:20 | |
Mythologies, dining scenes, | 0:36:20 | 0:36:23 | |
portraits, | 0:36:23 | 0:36:25 | |
and in all of them, | 0:36:25 | 0:36:26 | |
what's going on seems less important | 0:36:26 | 0:36:30 | |
than what everyone's wearing. | 0:36:30 | 0:36:32 | |
In Veronese, every stretch of silk plays its part. | 0:36:36 | 0:36:41 | |
Whether you're St George going to his martyrdom, | 0:36:42 | 0:36:47 | |
or the lovely Andromeda chained up for the monsters, | 0:36:47 | 0:36:51 | |
what you're wearing needs to shimmer and shine, | 0:36:51 | 0:36:56 | |
and single you out. | 0:36:56 | 0:36:58 | |
It's even true of Veronese's contribution | 0:37:03 | 0:37:06 | |
to the most boring genre in art, | 0:37:06 | 0:37:10 | |
the political allegory. | 0:37:10 | 0:37:12 | |
What is it about big buildings that makes our rulers insist | 0:37:14 | 0:37:19 | |
on filling them with so many yards of jingoistic guff? | 0:37:19 | 0:37:25 | |
This is the Ducale Palace, from which Venice is run, | 0:37:28 | 0:37:32 | |
and it's packed with political pictures and wonderful dresses. | 0:37:32 | 0:37:37 | |
This oval painting here is Veronese's Apotheosis Of Venice. | 0:37:43 | 0:37:49 | |
And there's Venice herself, imagined as a beautiful blonde | 0:37:50 | 0:37:55 | |
who's going up to heaven dressed in virgin white. | 0:37:55 | 0:38:00 | |
Back on earth meanwhile, on the balcony below, | 0:38:02 | 0:38:06 | |
the citizens of Venice have turned up to cheer. | 0:38:06 | 0:38:09 | |
And look what they've thrown on for the occasion. | 0:38:10 | 0:38:13 | |
No wonder they're all so happy to be living in Venice. | 0:38:16 | 0:38:19 | |
Who wouldn't be, if you could wear dresses like that? | 0:38:19 | 0:38:23 | |
On the catwalk of Venetian politics, Veronese had no equals. | 0:38:23 | 0:38:28 | |
Veronese could paint all kinds of cloth. | 0:38:33 | 0:38:36 | |
But a particular favourite of his is through here. | 0:38:37 | 0:38:41 | |
It's Europa and the Bull again. | 0:38:46 | 0:38:49 | |
Zeus is up to his old tricks. | 0:38:49 | 0:38:51 | |
He's absconding with Europa, | 0:38:52 | 0:38:55 | |
and look at the sly way he's licking her foot. | 0:38:55 | 0:39:00 | |
A bull with a foot fetish. | 0:39:00 | 0:39:02 | |
How very Venetian. | 0:39:03 | 0:39:05 | |
But the star of the picture isn't Zeus or the cherubs or Europa. | 0:39:07 | 0:39:14 | |
It's that dress she's modelling. | 0:39:14 | 0:39:17 | |
See how it's pink and yellow at the same time? | 0:39:19 | 0:39:23 | |
That's a Venetian speciality. | 0:39:23 | 0:39:25 | |
Here, I'll show you. | 0:39:25 | 0:39:27 | |
This is shot silk, what they call in Italian "cangiante". | 0:39:35 | 0:39:39 | |
You can see it better outside. | 0:39:39 | 0:39:42 | |
It's woven from two colours that change before your eyes, | 0:39:42 | 0:39:47 | |
and this can cangiante silk is all over Renaissance art. | 0:39:47 | 0:39:52 | |
Here's Bellini's beautiful Feast Of The Gods in Washington. | 0:39:56 | 0:40:00 | |
A divine barbecue to which all the deities have been invited. | 0:40:01 | 0:40:06 | |
So they've all dressed up for the occasion. | 0:40:07 | 0:40:09 | |
Especially Mercury, | 0:40:11 | 0:40:14 | |
who sits at the front, getting noticed in his | 0:40:14 | 0:40:17 | |
blue-and-purple tunic and his splendid cangiante socks. | 0:40:17 | 0:40:22 | |
But it wasn't only Venetian artists who enjoyed | 0:40:24 | 0:40:28 | |
painting the miracle cloth. | 0:40:28 | 0:40:30 | |
The most prodigious cangiante painter of all was Michelangelo. | 0:40:34 | 0:40:39 | |
Look up at the Sistine ceiling in Rome and you'll be amazed | 0:40:41 | 0:40:46 | |
how many of the prophets and ancestors up there have turned up | 0:40:46 | 0:40:51 | |
for the end of the world in their best cangiante clobber. | 0:40:51 | 0:40:55 | |
In the Sistine Chapel, Michelangelo paints a world | 0:40:57 | 0:41:02 | |
where nothing is solid. | 0:41:02 | 0:41:04 | |
A cangiante world of shifting hues and changing colours. | 0:41:05 | 0:41:11 | |
In previous films in this series, | 0:41:22 | 0:41:25 | |
we've seen how various saints were depicted in the Renaissance and why. | 0:41:25 | 0:41:30 | |
In Venice, though, | 0:41:32 | 0:41:34 | |
the saint who seemed best to capture the city's sensuous tone | 0:41:34 | 0:41:40 | |
was that alluring Biblical concoction, Mary Magdalene. | 0:41:40 | 0:41:46 | |
Mary Magdalene has never been real. | 0:41:48 | 0:41:52 | |
She's always been a plaything of the Renaissance imagination, | 0:41:52 | 0:41:58 | |
invented specifically to press some naughty Renaissance buttons. | 0:41:58 | 0:42:06 | |
And that's something she's done really well. | 0:42:06 | 0:42:10 | |
The Bible tells us practically nothing about her. | 0:42:14 | 0:42:17 | |
Just a few brief mentions in the New Testament | 0:42:18 | 0:42:23 | |
informing us that she was there when Jesus died on the Cross | 0:42:23 | 0:42:29 | |
and that it was Mary Magdalene who first encountered Jesus | 0:42:29 | 0:42:34 | |
when he came back from the dead and she mistook him for a gardener. | 0:42:34 | 0:42:40 | |
With so little actual information to go on, | 0:42:42 | 0:42:46 | |
everything else had to be imagined. | 0:42:46 | 0:42:50 | |
And, of course, art loves nothing better than to fill big gaps... | 0:42:50 | 0:42:58 | |
..with big fantasies. | 0:43:02 | 0:43:04 | |
Fortunately, there are lots of other Marys in the Bible | 0:43:07 | 0:43:12 | |
whose identities the Magdalene could steal. | 0:43:12 | 0:43:15 | |
Like the Mary who washed Jesus' feet with oil | 0:43:16 | 0:43:21 | |
and dried it with her hair. | 0:43:21 | 0:43:23 | |
It wasn't Mary Magdalene, But, hey, a Mary is a Mary. | 0:43:24 | 0:43:30 | |
And if you want to spot the Magdalene in a painting, | 0:43:33 | 0:43:37 | |
look out for the jar, the vase, the pot in which she keeps her oil. | 0:43:37 | 0:43:45 | |
In Renaissance art, the Magdalene and her pot are rarely separated. | 0:43:46 | 0:43:53 | |
It also does not say in the Bible that she was a prostitute. | 0:43:59 | 0:44:04 | |
That was another Mary as well. | 0:44:04 | 0:44:07 | |
But, hey, a Mary is a Mary | 0:44:07 | 0:44:11 | |
and having turned her into a scarlet woman, the Renaissance began | 0:44:11 | 0:44:16 | |
fantasising eagerly about the fatal attraction of the Magdalene. | 0:44:16 | 0:44:21 | |
The giveaway is her hair. | 0:44:25 | 0:44:28 | |
It's always the hair. | 0:44:28 | 0:44:31 | |
In art, loose hair is a sure sign of loose morals. | 0:44:32 | 0:44:38 | |
And from the time of Giotto, | 0:44:39 | 0:44:42 | |
the Magdalene's hair has signalled her dangerous sexuality. | 0:44:42 | 0:44:48 | |
Here she is in the Franciscan Basilica in Assisi, | 0:44:50 | 0:44:55 | |
hiding her nudity in a cave... | 0:44:55 | 0:44:57 | |
..until the hermit Zosimus gives her his cloak. | 0:44:59 | 0:45:03 | |
It was actually Mary of Egypt that Zosimus gave his cloak to. | 0:45:05 | 0:45:10 | |
But, hey, a Mary is a Mary. | 0:45:12 | 0:45:15 | |
And how about this for a rampant display | 0:45:18 | 0:45:22 | |
of dangerous female hairiness, | 0:45:22 | 0:45:25 | |
enjoyed and carved by the German Renaissance master | 0:45:25 | 0:45:31 | |
Tillman Riemann Schneider. | 0:45:31 | 0:45:34 | |
In Riemann Schneider's demented northern imaginings, Mary Magdalene, | 0:45:36 | 0:45:42 | |
covered in body hair, reconnects the Renaissance to its caveman roots. | 0:45:42 | 0:45:50 | |
So the hair, the nudity, the former life as a prostitute, | 0:45:53 | 0:45:59 | |
the hanging about at Christ's feet, all of it had to be invented, | 0:45:59 | 0:46:05 | |
because Mary Magdalene isn't just a character in a Renaissance art, | 0:46:05 | 0:46:10 | |
she's an archetypal masculine projection. | 0:46:10 | 0:46:15 | |
A simpering female fantasy figure, given a saintly form | 0:46:15 | 0:46:21 | |
and that, of course, made her especially appealing | 0:46:21 | 0:46:25 | |
to the Venetians. | 0:46:25 | 0:46:27 | |
In Bellini's great altarpiece in San Zaccaria, | 0:46:30 | 0:46:35 | |
look how beautiful he makes her. | 0:46:35 | 0:46:37 | |
And what a lovely pot of Venetian glass she holds! | 0:46:39 | 0:46:43 | |
Savoldo, meanwhile, encounters her in the dark | 0:46:45 | 0:46:49 | |
under a dangerous moon... | 0:46:49 | 0:46:51 | |
..her hair hidden under a cloth, | 0:46:53 | 0:46:56 | |
as the prostitutes of Venice were instructed to do. | 0:46:56 | 0:46:59 | |
But, you know, desire wouldn't be desire | 0:47:01 | 0:47:05 | |
if it wasn't accompanied by regret. | 0:47:05 | 0:47:07 | |
So Renaissance art also came up with this. | 0:47:09 | 0:47:13 | |
The penitent Magdalene. | 0:47:13 | 0:47:15 | |
Ashamed of her past, ashamed of her sins. | 0:47:17 | 0:47:22 | |
So ashamed of herself is Titian's penitent Magdalene, | 0:47:22 | 0:47:27 | |
that she covers herself up with her hair. | 0:47:27 | 0:47:31 | |
And forgets, in typical Venetian fashion, | 0:47:31 | 0:47:35 | |
that hair isn't very good at covering things up. | 0:47:35 | 0:47:39 | |
Is it? | 0:47:40 | 0:47:42 | |
CHURCH BELLS CHIME | 0:47:52 | 0:47:54 | |
This is the Church of San Rocco, Saint Roch, as we call him. | 0:47:59 | 0:48:04 | |
Now, I'm going to give you a whistle-stop tour of Venetian churches | 0:48:04 | 0:48:08 | |
and I want you to tell me what they've all got in common. | 0:48:08 | 0:48:10 | |
So this is the first one, San Rocco. | 0:48:10 | 0:48:13 | |
Number two, San Giobbe. | 0:48:17 | 0:48:19 | |
Three, Il Redontore. | 0:48:22 | 0:48:24 | |
Four, Santa Maria della Salute, a church we all know. | 0:48:28 | 0:48:32 | |
Five, San Sebastiano, where Veronese is buried. | 0:48:36 | 0:48:40 | |
And then, back again to San Rocco. | 0:48:44 | 0:48:48 | |
So that's five Venetian churches. | 0:48:48 | 0:48:50 | |
What have they got in common? | 0:48:50 | 0:48:52 | |
Well, the answer is that they were all built to ward off | 0:48:52 | 0:48:56 | |
the Black Death. | 0:48:56 | 0:48:58 | |
They are what they call "plague churches", | 0:48:58 | 0:49:01 | |
the five plague churches of Venice. | 0:49:01 | 0:49:04 | |
The Black Death, bubonic plague, brought terror to all of Europe. | 0:49:08 | 0:49:14 | |
But it hit Venice with special severity. | 0:49:15 | 0:49:19 | |
The first great outbreak, in 1348, | 0:49:23 | 0:49:27 | |
killed 70,000 Venetians out of a population of 100,000. | 0:49:27 | 0:49:33 | |
And in the next 300 years, there were 70 more of these epidemics. | 0:49:33 | 0:49:38 | |
Whatever the Venetians did, the plague kept returning. | 0:49:38 | 0:49:42 | |
They say it originated in China | 0:49:45 | 0:49:49 | |
and that the rats which carried it | 0:49:49 | 0:49:52 | |
were particularly fond of spice ships. | 0:49:52 | 0:49:54 | |
And, thus, Venice became the world's leading importer of plague rats. | 0:49:56 | 0:50:02 | |
The epidemic of 1576 was another particularly bad one. | 0:50:05 | 0:50:11 | |
It killed a quarter of Venice's population. | 0:50:11 | 0:50:14 | |
Among them, the great painter Titian. | 0:50:14 | 0:50:18 | |
And here, at the Scuola San Rocco, | 0:50:18 | 0:50:21 | |
Tintoretto, plague painter extraordinaire, | 0:50:21 | 0:50:26 | |
redoubled his remarkable efforts | 0:50:26 | 0:50:29 | |
to paint Venice to safety. | 0:50:29 | 0:50:31 | |
San Rocco, St Roch, | 0:50:37 | 0:50:39 | |
was the saint you prayed to to ward off the Black Death. | 0:50:39 | 0:50:43 | |
And this scuola here, | 0:50:45 | 0:50:47 | |
the Scuola San Rocco, | 0:50:47 | 0:50:49 | |
quickly became the richest charity institution in Venice. | 0:50:49 | 0:50:54 | |
That is St Roch there. | 0:50:57 | 0:50:59 | |
You can always tell him in art | 0:50:59 | 0:51:00 | |
because he is always showing you a naked leg, | 0:51:00 | 0:51:03 | |
so you can see the puss-filled boil on his thigh | 0:51:03 | 0:51:08 | |
that's the first sign of the Black Death. | 0:51:08 | 0:51:11 | |
If you had money, you gave it to the Scuola San Rocco to protect you. | 0:51:15 | 0:51:21 | |
And Tintoretto gave not only money | 0:51:23 | 0:51:27 | |
but a huge slab of his working life as well, | 0:51:27 | 0:51:32 | |
as he filled the darkness of San Rocco with so much of his art. | 0:51:32 | 0:51:38 | |
He got paid occasionally, bits and pieces, | 0:51:41 | 0:51:45 | |
but never what it would really have cost to do all this. | 0:51:45 | 0:51:49 | |
And there was a story doing the rounds in the Renaissance | 0:51:49 | 0:51:53 | |
that Tintoretto himself had been saved from the plague | 0:51:53 | 0:51:57 | |
and that to thank God, | 0:51:57 | 0:51:59 | |
he undertook to finish this great project. | 0:51:59 | 0:52:02 | |
Now, I don't know if that's true, | 0:52:04 | 0:52:06 | |
but I do know, | 0:52:06 | 0:52:08 | |
because you can feel it in here, | 0:52:08 | 0:52:11 | |
that all this was personal. | 0:52:11 | 0:52:14 | |
There are 52 paintings by Tintoretto in the Scuola San Rocco. | 0:52:19 | 0:52:25 | |
That's right, 52. | 0:52:26 | 0:52:28 | |
And the first one he painted shows St Roch in pink | 0:52:30 | 0:52:35 | |
going up to heaven. | 0:52:35 | 0:52:37 | |
The second was this, | 0:52:38 | 0:52:42 | |
Tintoretto's Crucifixion. | 0:52:42 | 0:52:44 | |
This has been described as the greatest Renaissance painting | 0:52:47 | 0:52:51 | |
and you can see why. | 0:52:51 | 0:52:53 | |
What scale. | 0:52:53 | 0:52:55 | |
What drama. | 0:52:55 | 0:52:57 | |
What power. | 0:52:57 | 0:52:58 | |
The second room he painted was this one, | 0:53:02 | 0:53:05 | |
the Great Hall, | 0:53:05 | 0:53:08 | |
which he began in the deadly year of 1576. | 0:53:08 | 0:53:13 | |
To get the commission, | 0:53:15 | 0:53:17 | |
Tintoretto promised the scuola | 0:53:17 | 0:53:19 | |
that he'd paint them three pictures a year | 0:53:19 | 0:53:23 | |
for as long as he was alive | 0:53:23 | 0:53:25 | |
just for the cost of the materials | 0:53:25 | 0:53:28 | |
and that he would donate them to the institution annually | 0:53:28 | 0:53:31 | |
on 16 August, the Feast Day of St Roch. | 0:53:31 | 0:53:36 | |
On the walls, he shows Jesus saving us from our sins | 0:53:39 | 0:53:44 | |
with his miracles and his sacrifice. | 0:53:44 | 0:53:48 | |
On the ceiling, | 0:53:50 | 0:53:52 | |
there's a history of our sinning | 0:53:52 | 0:53:55 | |
that goes right back to the beginning. | 0:53:55 | 0:53:58 | |
How we brought the plague down on our heads. | 0:53:58 | 0:54:01 | |
This is the key image, | 0:54:04 | 0:54:05 | |
the worship of the brazen serpent. | 0:54:05 | 0:54:09 | |
The Israelites had been disobeying God again, | 0:54:09 | 0:54:13 | |
so God sends a plague of poisonous snakes to punish them. | 0:54:13 | 0:54:18 | |
And Moses pleads with him to save his people. | 0:54:20 | 0:54:24 | |
So God tells him to put a bronze serpent up on a pole | 0:54:24 | 0:54:30 | |
and that this bronze serpent will protect the people from the snakes. | 0:54:30 | 0:54:34 | |
And, as you can see, | 0:54:36 | 0:54:39 | |
it looks suspiciously like the Crucifixion. | 0:54:39 | 0:54:42 | |
Having painted all that, | 0:54:51 | 0:54:53 | |
Tintoretto, still producing his three pictures a year, | 0:54:53 | 0:54:58 | |
came down here and began painting these, | 0:54:58 | 0:55:02 | |
the story of the Virgin Mary. | 0:55:02 | 0:55:05 | |
Here she is finding out she is going to give birth to Jesus. | 0:55:08 | 0:55:13 | |
And there are the Three Kings turning up at Jesus' Nativity. | 0:55:15 | 0:55:20 | |
So this was the last room to be painted, | 0:55:24 | 0:55:27 | |
but it's the first room of the story, | 0:55:27 | 0:55:29 | |
as it unfolds up the building. | 0:55:29 | 0:55:32 | |
So here, Mary gives birth to Jesus. | 0:55:32 | 0:55:35 | |
There's Jesus performing extraordinary miracles, | 0:55:44 | 0:55:48 | |
saving the paralytic, | 0:55:48 | 0:55:49 | |
and all these other people who got the plague. | 0:55:49 | 0:55:52 | |
His miracles find an echo in the Old Testament, | 0:55:56 | 0:56:00 | |
where a brazen serpent protects the Israelites from a plague of snakes. | 0:56:00 | 0:56:05 | |
And then, finally, going back to the future, | 0:56:11 | 0:56:15 | |
you come in here and there's Jesus dying on the cross to save us | 0:56:15 | 0:56:21 | |
and, in this instance, | 0:56:21 | 0:56:23 | |
specifically to save Venice from the Black Death. | 0:56:23 | 0:56:27 | |
This isn't just art. | 0:56:31 | 0:56:33 | |
This is theatre, drama, | 0:56:33 | 0:56:37 | |
salvation in three dark dimensions. | 0:56:37 | 0:56:40 | |
And it's here because the Renaissance believed | 0:56:42 | 0:56:46 | |
that art had talismanic power. | 0:56:46 | 0:56:48 | |
That it could save Venice, | 0:56:50 | 0:56:52 | |
combat the plague | 0:56:52 | 0:56:54 | |
and change the future. | 0:56:54 | 0:56:56 | |
And that's what the Renaissance is really about, | 0:56:58 | 0:57:03 | |
the power of art. | 0:57:03 | 0:57:05 | |
You know I said how St Mark's Square | 0:57:30 | 0:57:33 | |
is modelled on the outline of an Islamic mosque? | 0:57:33 | 0:57:37 | |
Well, there's another painting by Gentile Bellini | 0:57:37 | 0:57:40 | |
of a space exactly like this. | 0:57:40 | 0:57:43 | |
But this time it really is a mosque. | 0:57:43 | 0:57:46 | |
This is St Mark preaching to the locals in Alexandria in Egypt. | 0:57:50 | 0:57:55 | |
But it's an Alexandria that looks an awful lot like Venice. | 0:57:57 | 0:58:01 | |
In fact, it looks exactly like St Mark's Square. | 0:58:03 | 0:58:07 | |
The same layout, same proportions, same mood. | 0:58:07 | 0:58:11 | |
So much so, that it's difficult to tell one from the other. | 0:58:11 | 0:58:15 | |
In the mind of Gentile Bellini, | 0:58:19 | 0:58:22 | |
the East and the West had become interchangeable. | 0:58:22 | 0:58:26 | |
Venice, an artistic powerhouse, created out of sky, | 0:58:28 | 0:58:33 | |
sea and dreams, | 0:58:33 | 0:58:37 | |
never had a firm outline. | 0:58:37 | 0:58:39 | |
But then, never was it quite as magnificently blurred | 0:58:40 | 0:58:45 | |
as it was in Renaissance times, | 0:58:45 | 0:58:49 | |
when the East and the West became one. | 0:58:49 | 0:58:52 | |
In the next film, | 0:58:57 | 0:58:59 | |
things get very strange | 0:58:59 | 0:59:02 | |
as the Renaissance loses its inhibitions | 0:59:02 | 0:59:06 | |
and hurtles to its end. | 0:59:06 | 0:59:08 |