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This is a film about a woman who probably never existed | 0:00:09 | 0:00:14 | |
but whose story changed history. | 0:00:14 | 0:00:17 | |
It's a story that's soaked into our culture. | 0:00:19 | 0:00:22 | |
It's everywhere, in every corner... | 0:00:23 | 0:00:26 | |
..sweaty, sensuous and naughty. | 0:00:28 | 0:00:31 | |
It's the story of Mary Magdalene. | 0:00:32 | 0:00:36 | |
If you've read this - and who hasn't? - | 0:00:39 | 0:00:41 | |
then you'll know something about her already | 0:00:41 | 0:00:44 | |
or, at least, you'll think you do | 0:00:44 | 0:00:46 | |
because, according to this, | 0:00:46 | 0:00:49 | |
Mary Magdalene and Jesus Christ were lovers, | 0:00:49 | 0:00:53 | |
they had a baby together | 0:00:53 | 0:00:55 | |
and their descendants are still among us today, | 0:00:55 | 0:00:59 | |
hiding their secret origins. | 0:00:59 | 0:01:01 | |
If you haven't read this, you might have seen this - | 0:01:05 | 0:01:10 | |
the popular musical by Andrew Lloyd Webber and Tim Rice. | 0:01:10 | 0:01:14 | |
In this, she's a former prostitute | 0:01:14 | 0:01:17 | |
who falls hopelessly in love with Jesus and who sings that famous song | 0:01:17 | 0:01:22 | |
to him - I Don't Know How To Love Him. | 0:01:22 | 0:01:27 | |
# I don't know how to love him... # | 0:01:27 | 0:01:31 | |
Oh, how artists through the ages | 0:01:31 | 0:01:34 | |
have loved the idea that Mary Magdalene | 0:01:34 | 0:01:38 | |
was a temptress. | 0:01:38 | 0:01:39 | |
# Yes, really changed... # | 0:01:41 | 0:01:43 | |
But even if you haven't seen or read any of these things, | 0:01:43 | 0:01:47 | |
the chances are you've still heard of Mary Magdalene | 0:01:47 | 0:01:51 | |
because she's infiltrated our culture on such a profound level. | 0:01:51 | 0:01:56 | |
For 2,000 years, we've been fantasising about her. | 0:01:59 | 0:02:03 | |
She's in our churches and on our walls... | 0:02:05 | 0:02:08 | |
..in our chapels and in our windows... | 0:02:10 | 0:02:13 | |
..in our paintings... | 0:02:16 | 0:02:17 | |
..and in our dreams. | 0:02:19 | 0:02:20 | |
Why are we so obsessed with her? | 0:02:24 | 0:02:26 | |
Why does she ring our bell so loudly? | 0:02:26 | 0:02:30 | |
And if she wasn't any of the things they say she was, who, really, | 0:02:30 | 0:02:35 | |
was she? | 0:02:35 | 0:02:36 | |
The Magdalene story begins in the Holy Land. | 0:03:20 | 0:03:23 | |
Where else? | 0:03:23 | 0:03:24 | |
She's a creature of the Bible - | 0:03:26 | 0:03:29 | |
its most alluring and intoxicating presence. | 0:03:29 | 0:03:32 | |
According to the Gospels, she was a woman from Magdala. | 0:03:37 | 0:03:42 | |
And this... | 0:03:42 | 0:03:43 | |
..is Magdala. | 0:03:44 | 0:03:45 | |
Today, it's just a pokey sprawl on the banks of the Sea of Galilee | 0:03:47 | 0:03:52 | |
but, in biblical times, this was a thriving fishing port. | 0:03:52 | 0:03:57 | |
Magdala Nunayya, they called it - | 0:03:57 | 0:04:00 | |
"Magdala of the fishes". | 0:04:00 | 0:04:02 | |
They still fish here when the mood takes them. | 0:04:05 | 0:04:09 | |
But once, Magdala was a biblical hot spot. | 0:04:09 | 0:04:13 | |
A few miles up the road that way is Nazareth, | 0:04:15 | 0:04:19 | |
where Jesus grew up. | 0:04:19 | 0:04:20 | |
A few miles that way is Cana, where he turned water into wine. | 0:04:22 | 0:04:27 | |
And over there is the Sea of Galilee, where he walked on the waves... | 0:04:29 | 0:04:34 | |
..or so they say. | 0:04:35 | 0:04:36 | |
So these are crucial biblical territories | 0:04:43 | 0:04:47 | |
where important things happened. | 0:04:47 | 0:04:49 | |
But the first thing to note about Mary Magdalene is that she hardly | 0:04:49 | 0:04:54 | |
features in any of them. | 0:04:54 | 0:04:56 | |
Considering how famous she is | 0:04:56 | 0:04:59 | |
and how many men through the ages have drooled over her, | 0:04:59 | 0:05:03 | |
what's remarkable is how little we know about her and how much we've imagined. | 0:05:03 | 0:05:10 | |
In the Bible, she's mentioned just a handful of times... | 0:05:13 | 0:05:17 | |
..a thoroughly minor character about whom we learn next to nothing. | 0:05:18 | 0:05:24 | |
Basically, she's mentioned four times. | 0:05:28 | 0:05:32 | |
And that's it. The first time is in the Gospel of Luke, where | 0:05:32 | 0:05:37 | |
we're told that she was one of the women who followed Jesus. | 0:05:37 | 0:05:41 | |
Here, I'll read you the passage. | 0:05:41 | 0:05:43 | |
The 12 were with him - that's the 12 Apostles. | 0:05:44 | 0:05:47 | |
And also "certain women who had been healed of evil spirits and infirmities," | 0:05:47 | 0:05:53 | |
among them, "Mary that was called Magdalene, | 0:05:53 | 0:05:57 | |
"from whom seven devils had been cast out." | 0:05:57 | 0:06:00 | |
So she was one of the women who'd accompanied Jesus on his journeys | 0:06:02 | 0:06:07 | |
through these biblical lands | 0:06:07 | 0:06:09 | |
and he had cast seven demons out of her. | 0:06:09 | 0:06:13 | |
But what the hell are seven demons? | 0:06:13 | 0:06:17 | |
Was she possessed by seven devils? | 0:06:17 | 0:06:20 | |
Had she committed seven types of sin? | 0:06:20 | 0:06:22 | |
There's been endless speculation, but no answers. | 0:06:24 | 0:06:28 | |
What is clear from this first spicy mention in the Bible | 0:06:30 | 0:06:36 | |
is that Mary had a regrettable past. | 0:06:36 | 0:06:39 | |
She was stained with something sinful... | 0:06:40 | 0:06:43 | |
..and when women in the Bible are said to be sinful... | 0:06:45 | 0:06:48 | |
..the accusation usually points in a specific direction. | 0:06:50 | 0:06:55 | |
Jerusalem... | 0:07:04 | 0:07:05 | |
..where Christ was flogged, humiliated and crucified... | 0:07:06 | 0:07:11 | |
..and where Mary Magdalene made the most telling of her tiny appearances | 0:07:13 | 0:07:19 | |
in the Bible. | 0:07:19 | 0:07:20 | |
So we all know what happened here, | 0:07:24 | 0:07:26 | |
in the streets of Jerusalem - | 0:07:26 | 0:07:29 | |
the story of Christ's torture and crucifixion... | 0:07:29 | 0:07:33 | |
..how he was mocked by the baying crowd as he carried his own cross up here | 0:07:34 | 0:07:42 | |
to the place he was crucified, | 0:07:42 | 0:07:45 | |
the place we call Calvary. | 0:07:45 | 0:07:47 | |
Calvary, where Christ was nailed to the cross, | 0:07:54 | 0:07:58 | |
is actually a mistranslation from the Latin. | 0:07:58 | 0:08:02 | |
The real name of this morbid hilltop is Golgotha - | 0:08:04 | 0:08:09 | |
the Place Of The Skulls. | 0:08:09 | 0:08:11 | |
And that's the name I'm going to use. | 0:08:13 | 0:08:15 | |
It happened right there, where the Church Of The Holy Sepulchre now stands. | 0:08:21 | 0:08:26 | |
That is Golgotha. | 0:08:26 | 0:08:28 | |
At three o'clock in the afternoon, Jesus was nailed to the cross, | 0:08:28 | 0:08:33 | |
right there, and hoisted up before us | 0:08:33 | 0:08:36 | |
so we could witness his suffering and his death. | 0:08:36 | 0:08:39 | |
It's the most powerful moment in Christian art... | 0:08:43 | 0:08:46 | |
..a scene of suffering | 0:08:48 | 0:08:49 | |
so extreme you wonder how it ever ended up in a church. | 0:08:49 | 0:08:54 | |
The Crucifixion is one of art's great subjects. | 0:08:58 | 0:09:01 | |
Every old master of note has had a go at it. | 0:09:01 | 0:09:05 | |
It's a scene of spectacular torture | 0:09:05 | 0:09:08 | |
and pain. But it's also the moment when Mary Magdalene makes her second | 0:09:08 | 0:09:14 | |
appearance in the Bible. | 0:09:14 | 0:09:15 | |
Again, it's just a passing mention... | 0:09:19 | 0:09:21 | |
..Mark, chapter 15, verse 27. | 0:09:22 | 0:09:25 | |
"Jesus gave out a loud cry and breathed his last. | 0:09:26 | 0:09:32 | |
"And there were women looking on from a distance. | 0:09:32 | 0:09:35 | |
"Among them was Mary Magdalene." | 0:09:35 | 0:09:37 | |
So she was there at the Crucifixion - | 0:09:41 | 0:09:43 | |
just a brief mention, but it was enough. | 0:09:43 | 0:09:47 | |
Mary Magdalene was a witness to the darkest moment in the Christian story. | 0:09:47 | 0:09:53 | |
She was there so she had to be imagined. | 0:09:53 | 0:09:57 | |
Look down to the foot of the cross in any Crucifixion | 0:09:59 | 0:10:04 | |
and you'll find her - | 0:10:04 | 0:10:07 | |
the most beautiful of the sobbing women who've come to mourn | 0:10:07 | 0:10:12 | |
the passing of Christ. | 0:10:12 | 0:10:13 | |
And if none of them is beautiful, | 0:10:15 | 0:10:17 | |
look for the one who's screaming the loudest | 0:10:17 | 0:10:21 | |
because Mary Magdalene, who barely gets a mention in the Bible, | 0:10:21 | 0:10:27 | |
was elevated in art to the exciting and dramatic role of chief mourner. | 0:10:27 | 0:10:35 | |
The third mention of Mary in the Bible is the most important of them all. | 0:10:45 | 0:10:50 | |
Having been there at the Crucifixion and witnessed the death of Christ, | 0:10:50 | 0:10:55 | |
she's also named, a few verses later, | 0:10:55 | 0:10:58 | |
as the first witness to his Resurrection. | 0:10:58 | 0:11:01 | |
On the third day, you'll remember, Jesus came back from the dead. | 0:11:04 | 0:11:10 | |
The job of saving us was done, | 0:11:11 | 0:11:14 | |
and it was Mary Magdalene who met him again... | 0:11:14 | 0:11:17 | |
..and who spread the word of his return. | 0:11:19 | 0:11:21 | |
In three of the Gospels, she's one of a group of women, all called Mary, | 0:11:25 | 0:11:29 | |
who find the tomb empty. | 0:11:29 | 0:11:32 | |
But in the Gospel of St John, | 0:11:32 | 0:11:34 | |
the most vivid and influential of the Gospels, it's Mary Magdalene, | 0:11:34 | 0:11:39 | |
and only Mary Magdalene, who first encounters the risen Christ. | 0:11:39 | 0:11:45 | |
Savoldo shows the moment in an unusual fashion. | 0:11:48 | 0:11:52 | |
Dawn is breaking... | 0:11:53 | 0:11:55 | |
..and there's Mary Magdalene turned towards us | 0:11:56 | 0:11:59 | |
with a strange expression on her face. | 0:11:59 | 0:12:01 | |
She's heard something | 0:12:03 | 0:12:05 | |
and a mysterious light has fallen on her... | 0:12:05 | 0:12:07 | |
..so she turns around | 0:12:08 | 0:12:11 | |
and there's Jesus, | 0:12:11 | 0:12:12 | |
looking at her. | 0:12:12 | 0:12:13 | |
The Savoldo, which is in the National Gallery in London, is different. | 0:12:17 | 0:12:23 | |
In most paintings of the scene, Mary doesn't recognise Jesus | 0:12:23 | 0:12:28 | |
because she thinks he's dead. | 0:12:28 | 0:12:31 | |
And according to St John, in his Gospel, she mistakes him for a gardener. | 0:12:31 | 0:12:36 | |
That's why, in Rembrandt's wacky version of the scene, Jesus sports | 0:12:39 | 0:12:45 | |
that unlikely horticultural hat... | 0:12:45 | 0:12:48 | |
..and why, when Fra Angelico painted it, he gave him a garden implement | 0:12:50 | 0:12:56 | |
to hold, slung casually on his shoulder. | 0:12:56 | 0:13:00 | |
So the sobbing Mary mistakes Jesus for a gardener. | 0:13:03 | 0:13:08 | |
He asks her why she's crying | 0:13:08 | 0:13:10 | |
and she tells him that Jesus' body has disappeared. | 0:13:10 | 0:13:14 | |
Does he know where it's been taken? | 0:13:14 | 0:13:16 | |
"Mary," he says to her, and she looks up. | 0:13:17 | 0:13:20 | |
And she knows it's him. | 0:13:20 | 0:13:22 | |
Falling at his feet, the Magdalene tries to touch Jesus, | 0:13:25 | 0:13:30 | |
but he tells her not to. | 0:13:30 | 0:13:31 | |
"Noli me tangere," he says - | 0:13:32 | 0:13:35 | |
"Don't touch me." | 0:13:35 | 0:13:37 | |
He's not a man any more. | 0:13:37 | 0:13:39 | |
He's a god. | 0:13:39 | 0:13:40 | |
It's a strange scene. | 0:13:43 | 0:13:46 | |
Why, out of all the important figures in the Bible, was Mary Magdalene | 0:13:46 | 0:13:52 | |
singled out to witness Christ's Resurrection? | 0:13:52 | 0:13:55 | |
In the Middle Ages, | 0:13:56 | 0:13:58 | |
when they were especially unkind and misogynistic about these things, | 0:13:58 | 0:14:03 | |
the explanation that was usually given was that women were gossips | 0:14:03 | 0:14:09 | |
and that, by showing himself to a woman, | 0:14:09 | 0:14:12 | |
Christ was ensuring that word of his return would quickly spread. | 0:14:12 | 0:14:18 | |
But I don't think that's it. | 0:14:20 | 0:14:22 | |
I think it's because, from the start, Mary Magdalene was one of us - | 0:14:22 | 0:14:28 | |
a tangibly human presence, | 0:14:28 | 0:14:32 | |
the girl next door, a sinner, | 0:14:32 | 0:14:35 | |
like me and you. | 0:14:35 | 0:14:37 | |
In art, she's never a creature of the clouds. | 0:14:41 | 0:14:46 | |
There's always something real about her. | 0:14:46 | 0:14:48 | |
I mean, look at this superb terracotta by Niccolo dell'Arca. | 0:14:50 | 0:14:55 | |
How real is that? | 0:14:57 | 0:14:59 | |
So that's it - that's all the mentions of Mary Magdalene in the Bible. | 0:15:03 | 0:15:08 | |
She's the sinner who had seven demons thrown out of her... | 0:15:08 | 0:15:13 | |
..she witnessed the Crucifixion... | 0:15:15 | 0:15:17 | |
..and she was the first person to see Jesus when he rose from the dead. | 0:15:19 | 0:15:23 | |
So those are the facts. | 0:15:26 | 0:15:28 | |
And from now on, everything else is fantasy or fabrication or | 0:15:29 | 0:15:35 | |
it's a mix-up with all the other Marys in the Bible, | 0:15:35 | 0:15:39 | |
because there were a lot of them. | 0:15:39 | 0:15:41 | |
And before we go any further in this film, we need to clear that up. | 0:15:41 | 0:15:46 | |
So here is... | 0:15:46 | 0:15:47 | |
..my handy guide... | 0:15:49 | 0:15:50 | |
..to all the relevant Marys in the Bible. | 0:15:52 | 0:15:54 | |
First, there's our Mary, Mary Magdalene, | 0:15:58 | 0:16:01 | |
who followed Christ and witnessed his Crucifixion. | 0:16:01 | 0:16:05 | |
In Rogier van der Weyden's great Descent From The Cross, she's the | 0:16:08 | 0:16:14 | |
sobbing Mary on the right... | 0:16:14 | 0:16:15 | |
..the one who's wearing a Jesus and Mary chain. | 0:16:17 | 0:16:20 | |
But outranking her in religious status is Mary, the mother of Jesus - | 0:16:23 | 0:16:28 | |
the Virgin Mary. | 0:16:28 | 0:16:29 | |
She's everywhere in art. | 0:16:33 | 0:16:35 | |
In the van der Weyden, she's slumped at the front | 0:16:35 | 0:16:39 | |
at the sight of her dead son. | 0:16:39 | 0:16:41 | |
Now, according to some, and this is very confusing, | 0:16:45 | 0:16:48 | |
the Virgin Mary's sister was also called Mary, | 0:16:48 | 0:16:52 | |
and she's Mary Salome. | 0:16:52 | 0:16:55 | |
She's in the picture, too, | 0:16:58 | 0:17:01 | |
supporting her sister and weeping for her. | 0:17:01 | 0:17:04 | |
Then there's a third Mary, Mary Cleophas - | 0:17:07 | 0:17:12 | |
another female disciple of Christ who was there, they say, | 0:17:12 | 0:17:15 | |
at the Crucifixion. | 0:17:15 | 0:17:18 | |
Now, confusingly, she too was another sister of the Virgin Mary | 0:17:18 | 0:17:24 | |
though why anyone would name three of their daughters Mary is beyond me. | 0:17:24 | 0:17:29 | |
What's certain is that her tears are the most miraculous | 0:17:31 | 0:17:36 | |
in a masterpiece that's wet with divine sorrow. | 0:17:36 | 0:17:40 | |
So these three here form a family group | 0:17:44 | 0:17:47 | |
and they're often shown together. | 0:17:47 | 0:17:49 | |
But so too... | 0:17:51 | 0:17:52 | |
..are these three, | 0:17:55 | 0:17:57 | |
and they form another group, commonly known... | 0:17:57 | 0:18:00 | |
..as The Three Marys. | 0:18:01 | 0:18:03 | |
And they pop up in a lot of art. | 0:18:03 | 0:18:06 | |
They were especially popular in the Middle Ages. | 0:18:10 | 0:18:13 | |
And if you want to find the Magdalene among them, look down on the ground. | 0:18:14 | 0:18:20 | |
So the Magdalene was lost in a crowd of biblical Marys | 0:18:27 | 0:18:32 | |
and needed to stand out. | 0:18:32 | 0:18:34 | |
And that's where the Pharisees come in. | 0:18:35 | 0:18:38 | |
The Pharisees were the bad guys in the story of Jesus. | 0:18:43 | 0:18:46 | |
They were an Orthodox Jewish sect who were suspicious of Jesus | 0:18:46 | 0:18:51 | |
and who made things difficult for him. | 0:18:51 | 0:18:53 | |
Here are some Pharisees in a painting by Poussin. | 0:18:57 | 0:19:00 | |
That's Simon the Pharisee. | 0:19:01 | 0:19:03 | |
This is his home, | 0:19:04 | 0:19:06 | |
and he's throwing a big feast to which he's invited Jesus. | 0:19:06 | 0:19:10 | |
By inviting him for dinner here in Capernaum, | 0:19:13 | 0:19:16 | |
Simon was hoping to find out more about this rebellious fellow from | 0:19:16 | 0:19:21 | |
Nazareth, who was travelling around the Holy Land with his disciples, | 0:19:21 | 0:19:26 | |
spreading his new word. | 0:19:26 | 0:19:28 | |
The feast was a test. | 0:19:32 | 0:19:33 | |
Who was this Jesus of Nazareth? | 0:19:35 | 0:19:37 | |
And what was he up to? | 0:19:37 | 0:19:39 | |
Now, in those days, when you invited a guest for dinner, | 0:19:43 | 0:19:46 | |
one of the first things you did was to wash their feet. | 0:19:46 | 0:19:50 | |
They'd been travelling through the dusty desert, wearing sandals, | 0:19:50 | 0:19:54 | |
probably, so their feet were dirty. | 0:19:54 | 0:19:57 | |
In the Poussin, Simon himself is getting his feet washed by a servant. | 0:20:01 | 0:20:06 | |
But look who's washing Jesus' feet. | 0:20:08 | 0:20:11 | |
That's not a servant. | 0:20:11 | 0:20:14 | |
That's a woman with regrets. | 0:20:14 | 0:20:16 | |
All the Bible tells us about her is that she was a sinner, | 0:20:19 | 0:20:23 | |
an unnamed woman who came to the house of Simon the Pharisee | 0:20:23 | 0:20:28 | |
and who saw that Jesus' feet were dirty. | 0:20:28 | 0:20:31 | |
So she washed them with her tears, | 0:20:31 | 0:20:35 | |
dried them with her hair | 0:20:35 | 0:20:38 | |
and then kissed them and anointed them with oils. | 0:20:38 | 0:20:42 | |
It's a scene that artists through the ages loved to depict - | 0:20:45 | 0:20:50 | |
a desperate woman, a sinner, grovelling at the feet of Jesus... | 0:20:50 | 0:20:56 | |
..kissing and cleaning them, | 0:20:57 | 0:20:59 | |
begging for forgiveness. | 0:20:59 | 0:21:01 | |
No-one says it's Mary Magdalene - she could have been anybody. | 0:21:04 | 0:21:08 | |
But quicker than you can say Whore of Babylon, | 0:21:08 | 0:21:12 | |
the early Christian mind began putting two and two together, | 0:21:12 | 0:21:17 | |
and the unnamed sinner in the house of Simon the Pharisee began to be | 0:21:17 | 0:21:21 | |
recognised as Mary Magdalene. | 0:21:21 | 0:21:24 | |
And when Gregory the Great, the Pope in Rome, made it official... | 0:21:28 | 0:21:32 | |
..Mary the sinner was unleashed on art. | 0:21:34 | 0:21:37 | |
I said there were a lot of Marys in the Bible, | 0:21:53 | 0:21:56 | |
but there were even more outside the Bible | 0:21:56 | 0:21:59 | |
in the various tales of repentance and heroism that began to be passed | 0:21:59 | 0:22:05 | |
from Christian to Christian. | 0:22:05 | 0:22:06 | |
One such tale, a very fruity one, was the story of Mary of Egypt - | 0:22:10 | 0:22:16 | |
the repentant harlot who lived in the desert. | 0:22:16 | 0:22:20 | |
Mary of Egypt was what they later called a nymphomaniac - | 0:22:23 | 0:22:27 | |
she loved sex, | 0:22:27 | 0:22:29 | |
couldn't get enough of it. | 0:22:29 | 0:22:31 | |
And although she was a harlot, she often did it for free, | 0:22:31 | 0:22:35 | |
just for the fun of it, | 0:22:35 | 0:22:38 | |
or so they say. | 0:22:38 | 0:22:39 | |
One day, Mary of Egypt decided to go to Jerusalem to tease the pilgrims. | 0:22:43 | 0:22:50 | |
But when she got to the Church Of The Holy Sepulchre... | 0:22:51 | 0:22:55 | |
..an invisible force refused to let her enter. | 0:22:56 | 0:23:00 | |
She couldn't get in, | 0:23:02 | 0:23:05 | |
and she realised that she needed to change her ways. | 0:23:05 | 0:23:09 | |
So she returned to the desert and became a hermit. | 0:23:11 | 0:23:15 | |
And for 20 years, she survived on three loaves of bread | 0:23:15 | 0:23:20 | |
and whatever she could find in the wilderness. | 0:23:20 | 0:23:22 | |
One day, another hermit, called Zosimas, came across her in a cave. | 0:23:26 | 0:23:31 | |
She was naked except for her hair, | 0:23:32 | 0:23:35 | |
which had grown so long that it covered her shameful nakedness. | 0:23:35 | 0:23:39 | |
Zosimas gave her his cloak to put on | 0:23:44 | 0:23:47 | |
and, when he returned a year later, she was dead - | 0:23:47 | 0:23:51 | |
a repentant sinner whose repentance was complete. | 0:23:51 | 0:23:55 | |
In Assisi, in the chapel devoted to Mary Magdalene, painted by Giotto... | 0:23:59 | 0:24:04 | |
..you can see all this being acted out on the walls... | 0:24:05 | 0:24:08 | |
..because, yes, you guessed it - | 0:24:10 | 0:24:13 | |
Mary of Egypt was another identity that was quickly added to the | 0:24:13 | 0:24:18 | |
growing myth of Mary Magdalene. | 0:24:18 | 0:24:21 | |
This idea that Mary Magdalene was a harlot, a prostitute, | 0:24:24 | 0:24:29 | |
that her sins were the sins of the flesh, isn't in the Bible. | 0:24:29 | 0:24:33 | |
There's no evidence for it of any kind. | 0:24:33 | 0:24:37 | |
But it soon became the big idea about Mary Magdalene, | 0:24:37 | 0:24:41 | |
the idea everyone wanted to believe. | 0:24:41 | 0:24:44 | |
Thus the life of Mary of Egypt was stolen from her | 0:24:47 | 0:24:52 | |
and given to Mary Magdalene. | 0:24:52 | 0:24:54 | |
From now on, any artist seeking to portray the Magdalene assumed, | 0:24:56 | 0:25:03 | |
as Jusepe de Ribera assumes here, that she was a repentant harlot... | 0:25:03 | 0:25:09 | |
..who needed to pay for her sins. | 0:25:10 | 0:25:13 | |
Having been turned into a naughty sinner, | 0:25:22 | 0:25:26 | |
Mary Magdalene needed a new look. | 0:25:26 | 0:25:29 | |
So art got busy inventing one for her. | 0:25:31 | 0:25:35 | |
This stuff here it is called spikenard. | 0:25:39 | 0:25:43 | |
It's a fragrant oil made from Himalayan plants | 0:25:43 | 0:25:48 | |
and it was popular in ancient times as a perfume... | 0:25:48 | 0:25:52 | |
..and an ointment. | 0:25:54 | 0:25:55 | |
Spikenard was the oil that the unnamed sinner | 0:26:02 | 0:26:05 | |
in the house of Simon the Pharisee | 0:26:05 | 0:26:08 | |
rubbed so tenderly into the feet of Jesus | 0:26:08 | 0:26:12 | |
when she washed them with her tears and dried them with her hair. | 0:26:12 | 0:26:17 | |
Prostitutes used it, too. | 0:26:20 | 0:26:22 | |
Its delicious aromas would intoxicate their clients | 0:26:23 | 0:26:29 | |
and fill them with desire. | 0:26:29 | 0:26:30 | |
For all those reasons, spikenard, in a vase or a jar or a bowl, | 0:26:34 | 0:26:41 | |
became the symbol of Mary Magdalene | 0:26:41 | 0:26:44 | |
and could always be found by her side. | 0:26:44 | 0:26:47 | |
So if you see an unknown woman in art | 0:26:50 | 0:26:53 | |
and there's a pot of ointment near her, | 0:26:53 | 0:26:57 | |
that's Mary Magdalene. | 0:26:57 | 0:26:58 | |
Look out also for her hair. | 0:27:00 | 0:27:02 | |
If it's loose and falls down her back like a river, | 0:27:04 | 0:27:08 | |
as it does in this Guido Mazzoni sculpture... | 0:27:08 | 0:27:12 | |
..that's the Magdalene as well. | 0:27:13 | 0:27:15 | |
Another thing to look out for is the colour of her dress. | 0:27:18 | 0:27:22 | |
If it's bright red, like this, then it's probably her. | 0:27:22 | 0:27:26 | |
Since ancient times, red has been the colour of love, | 0:27:30 | 0:27:35 | |
a dangerous colour. | 0:27:35 | 0:27:36 | |
That's why the expression "a scarlet woman" entered our language... | 0:27:37 | 0:27:42 | |
..because of Mary Magdalene. | 0:27:43 | 0:27:45 | |
Out of almost nothing, out of a handful of mentions in the Bible | 0:27:48 | 0:27:53 | |
and some stolen bits of other Marys... | 0:27:53 | 0:27:56 | |
..art constructed the giant myth of Mary Magdalene. | 0:27:57 | 0:28:02 | |
And it didn't stop there. | 0:28:10 | 0:28:12 | |
So far, everything I've told you has been set in Galilee or Jerusalem. | 0:28:12 | 0:28:17 | |
But the Holy Land is tiny, | 0:28:17 | 0:28:20 | |
too tiny to contain the enlarging myth of Mary Magdalene. | 0:28:20 | 0:28:25 | |
The more they fantasised about her, the less recognisable she became, | 0:28:25 | 0:28:31 | |
and the time soon arrived for the myth of Mary Magdalene to travel. | 0:28:31 | 0:28:36 | |
You must have wondered how Mary Magdalene ended up in The Da Vinci Code. | 0:28:53 | 0:28:58 | |
After all, that terrible book is set mostly in France. | 0:29:00 | 0:29:05 | |
But Mary Magdalene's story is set in the Holy Land. | 0:29:06 | 0:29:10 | |
OK. It's time for a bit of geography. | 0:29:17 | 0:29:20 | |
So...over here... | 0:29:22 | 0:29:24 | |
..imagine that's the Holy Land, | 0:29:26 | 0:29:28 | |
where Mary Magdalene's story begins in the Bible - | 0:29:28 | 0:29:32 | |
round about here, in Galilee... | 0:29:32 | 0:29:34 | |
..and this way, | 0:29:36 | 0:29:38 | |
all the way round... | 0:29:38 | 0:29:39 | |
..this is what... | 0:29:43 | 0:29:44 | |
..the Romans used to call Mare Nostrum, which means Our Sea. | 0:29:45 | 0:29:52 | |
But today... | 0:29:53 | 0:29:55 | |
..we call it the Mediterranean. | 0:29:56 | 0:29:59 | |
And also on the Mediterranean... | 0:30:04 | 0:30:06 | |
..up here... | 0:30:07 | 0:30:08 | |
..this is France. | 0:30:11 | 0:30:12 | |
And just about there... | 0:30:13 | 0:30:15 | |
..is this very beach we're standing on in Provence. | 0:30:17 | 0:30:20 | |
And this is the beach on which Mary Magdalene actually landed when she | 0:30:20 | 0:30:26 | |
fled the Holy Land and cast herself... | 0:30:26 | 0:30:30 | |
..at the mercy... | 0:30:32 | 0:30:33 | |
..of the Mediterranean. | 0:30:36 | 0:30:37 | |
The facts are pretty unclear | 0:30:43 | 0:30:45 | |
because there aren't any. | 0:30:45 | 0:30:48 | |
It was all made up. | 0:30:48 | 0:30:49 | |
But the story goes that, when the Jews began persecuting the Christians, | 0:30:50 | 0:30:57 | |
Mary Magdalene and her fellow Marys were put on boats with no oars, | 0:30:57 | 0:31:03 | |
no sails, | 0:31:03 | 0:31:05 | |
and they drifted across the Mare Nostrum until they reached Provence. | 0:31:05 | 0:31:10 | |
So she landed here on the beach at Saintes-Maries-de-la-Mer - | 0:31:14 | 0:31:18 | |
Saint Mary of the Sea. | 0:31:18 | 0:31:20 | |
And having been miraculously saved, | 0:31:20 | 0:31:23 | |
she set about converting the French to Christianity. | 0:31:23 | 0:31:27 | |
Provence was to play a gigantic role, | 0:31:30 | 0:31:34 | |
not just in the story of Mary Magdalene, | 0:31:34 | 0:31:37 | |
but in the story of art as well. | 0:31:37 | 0:31:40 | |
There's a famous painting of this very beach by Van Gogh | 0:31:42 | 0:31:48 | |
showing some boats pulled up on the sand. | 0:31:48 | 0:31:50 | |
At first sight, it looks like an innocent boat picture. | 0:31:52 | 0:31:57 | |
But at Saintes-Maries-de-la-Mer, | 0:31:58 | 0:32:01 | |
there's no such thing as an innocent boat picture... | 0:32:01 | 0:32:04 | |
..as we shall see. | 0:32:05 | 0:32:06 | |
As the saint who'd converted Provence, | 0:32:16 | 0:32:18 | |
Mary Magdalene was particularly popular here - | 0:32:18 | 0:32:22 | |
a visiting superstar from the Bible who'd made the South of France her | 0:32:22 | 0:32:28 | |
home and whom the locals were keeping very, very busy. | 0:32:28 | 0:32:33 | |
Because she'd been a prostitute, | 0:32:38 | 0:32:41 | |
they made her the patron saint of prostitutes. | 0:32:41 | 0:32:45 | |
Because she'd met Jesus in the garden, | 0:32:46 | 0:32:50 | |
she became the patron saint of gardeners, too. | 0:32:50 | 0:32:53 | |
And because she'd dried Christ's feet with her hair, | 0:32:55 | 0:32:59 | |
she looked after hairdressers as well. | 0:32:59 | 0:33:02 | |
Most importantly of all, | 0:33:04 | 0:33:06 | |
because she'd arrived in Provence and brought Christianity with her, | 0:33:06 | 0:33:12 | |
they made her the patron saint of Provence. | 0:33:12 | 0:33:16 | |
And this was her church - | 0:33:17 | 0:33:20 | |
the Basilica Of Mary Magdalene. | 0:33:20 | 0:33:22 | |
And there she is, the woman herself | 0:33:32 | 0:33:36 | |
or, at least, her skull - | 0:33:36 | 0:33:38 | |
carefully preserved in a golden reliquary that shows off her beautiful hair, | 0:33:38 | 0:33:45 | |
the hair that wiped Christ's feet. | 0:33:45 | 0:33:48 | |
This big church in the small Provencal town of Saint-Maximin-la-Baume was | 0:33:53 | 0:34:00 | |
where her body was miraculously discovered in 1279. | 0:34:00 | 0:34:05 | |
Some monks were digging up the crypt | 0:34:06 | 0:34:09 | |
when they found an ancient sarcophagus. | 0:34:09 | 0:34:12 | |
Inside was her perfectly preserved corpse. | 0:34:13 | 0:34:18 | |
And drifting up from the bones was the sweet smell of roses. | 0:34:18 | 0:34:23 | |
Now, of course, all this had been made up. Why? | 0:34:28 | 0:34:31 | |
Because of the relics. | 0:34:31 | 0:34:33 | |
In medieval Europe, relics were like gold dust. | 0:34:33 | 0:34:38 | |
If you had some important ones, like the body of Mary Magdalene, | 0:34:38 | 0:34:42 | |
people would travel hundreds of miles to see them | 0:34:42 | 0:34:47 | |
and to touch them. | 0:34:47 | 0:34:48 | |
Relics had magic powers. | 0:34:51 | 0:34:54 | |
They could cure you of terminal illness or bring you babies. | 0:34:55 | 0:34:59 | |
If you touched a holy body, even a bit of it - a toe, a hand... | 0:35:01 | 0:35:06 | |
..the saintliness flowed through you and you'd go to heaven... | 0:35:08 | 0:35:12 | |
..or so they said. | 0:35:13 | 0:35:14 | |
As news spread of the great find, pilgrims began flocking here | 0:35:17 | 0:35:22 | |
in spectacular numbers. | 0:35:22 | 0:35:24 | |
And where there are pilgrims, there's money - | 0:35:24 | 0:35:27 | |
lots of it. And money has to be controlled. | 0:35:27 | 0:35:31 | |
So the church was handed over to the care of that especially fierce | 0:35:31 | 0:35:36 | |
religious order, the Dominicans, | 0:35:36 | 0:35:39 | |
and Mary Magdalene became their patron as well. | 0:35:39 | 0:35:43 | |
Ah, yes, the Dominicans - | 0:35:48 | 0:35:50 | |
punishers-in-chief of the medieval church. | 0:35:50 | 0:35:54 | |
As the patron saint of the Dominicans, Mary Magdalene makes a beautiful appearance | 0:35:56 | 0:36:04 | |
in the Dominican Convent of San Marco in Florence | 0:36:04 | 0:36:09 | |
in some deceptively exquisite Renaissance frescoes by the Dominican friar | 0:36:09 | 0:36:16 | |
Fra Angelico. | 0:36:16 | 0:36:17 | |
And all around her, the Dominicans, | 0:36:20 | 0:36:23 | |
the great flagellators of the monkish orders, | 0:36:23 | 0:36:27 | |
suffer mightily for their sins | 0:36:27 | 0:36:31 | |
and make sure the rest of us suffer mightily as well. | 0:36:31 | 0:36:35 | |
Darkness and punishment were now creeping into the story of Mary Magdalene. | 0:36:42 | 0:36:48 | |
Having invented her sinful past, | 0:36:50 | 0:36:53 | |
art was now determined to make her pay for it. | 0:36:53 | 0:36:58 | |
Mary Magdalene had touched Christ - she'd kissed his feet, | 0:37:05 | 0:37:10 | |
rubbed spikenard into them | 0:37:10 | 0:37:12 | |
and smelt them. And as a former prostitute, | 0:37:12 | 0:37:16 | |
her erotic past could never be scrubbed completely clean. | 0:37:16 | 0:37:21 | |
But as always, with sin, it's both deeply regrettable | 0:37:21 | 0:37:27 | |
and deeply attractive. | 0:37:27 | 0:37:29 | |
In the battered porches of medieval France, she's always easy to spot... | 0:37:34 | 0:37:40 | |
..a rare horizontal in a vertical world... | 0:37:41 | 0:37:45 | |
..crawling about on the ground, | 0:37:46 | 0:37:49 | |
washing Jesus' feet with her tears. | 0:37:49 | 0:37:52 | |
She was everywhere. | 0:37:55 | 0:37:57 | |
But here in Provence, they had one thing that no-one else had. | 0:37:57 | 0:38:01 | |
It's up there, at the end of this exhausting climb - | 0:38:01 | 0:38:05 | |
the Cave of Mary Magdalene. | 0:38:05 | 0:38:08 | |
When her work in Provence was complete and the pagans had been converted... | 0:38:13 | 0:38:18 | |
..the Magdalene was said to have retired here... | 0:38:20 | 0:38:23 | |
..high in the hills above Aix. | 0:38:25 | 0:38:29 | |
Just one duty remained for her to fulfil. | 0:38:29 | 0:38:32 | |
The scarlet woman needed to pay for the sins of her youth. | 0:38:34 | 0:38:38 | |
Originally, this was a grotto devoted to the Virgin Mary - | 0:38:47 | 0:38:51 | |
Mary, the mother of Jesus. | 0:38:51 | 0:38:54 | |
But as the Provencal legend of Mary Magdalene grew and grew, | 0:38:54 | 0:38:59 | |
the cave switched identities and became the Cave of Mary Magdalene. | 0:38:59 | 0:39:05 | |
This is where she spent the final 30 years of her life, | 0:39:10 | 0:39:15 | |
paying her penance. | 0:39:15 | 0:39:16 | |
She didn't eat, she didn't drink. | 0:39:18 | 0:39:20 | |
All she did was repent. | 0:39:21 | 0:39:24 | |
Mary Magdalene had already played a spectacular number of roles in art. | 0:39:27 | 0:39:34 | |
What she hadn't done yet is suffer properly for her sins - | 0:39:34 | 0:39:39 | |
really suffer. | 0:39:39 | 0:39:41 | |
And that's what happened here, in this cave. | 0:39:41 | 0:39:44 | |
To show the Magdalene atoning for her past, | 0:39:49 | 0:39:53 | |
for all those young men she'd led astray with her dangerous beauty... | 0:39:53 | 0:39:58 | |
..art invented a new genre... | 0:39:59 | 0:40:02 | |
..the penitent Magdalene. | 0:40:04 | 0:40:05 | |
Pretty much every notable artist of the 16th, 17th and 18th centuries | 0:40:11 | 0:40:16 | |
produced a penitent Magdalene. | 0:40:16 | 0:40:19 | |
They were phenomenally popular. | 0:40:19 | 0:40:21 | |
She was usually shown at night, home alone, | 0:40:25 | 0:40:30 | |
remembering her naughty past... | 0:40:30 | 0:40:33 | |
and regretting it. | 0:40:33 | 0:40:35 | |
It all got very sweaty and strange. | 0:40:38 | 0:40:41 | |
You remember Mary of Egypt? | 0:40:41 | 0:40:43 | |
The harlot who lived in the desert, wore no clothes, | 0:40:43 | 0:40:47 | |
and whose identity was subsumed in the identity of Mary Magdalene? | 0:40:47 | 0:40:51 | |
Well, it was in this cave that the Mary of Egypt side of Mary Magdalene | 0:40:51 | 0:40:57 | |
found its weirdest expression. | 0:40:57 | 0:41:00 | |
This peculiar creature is the hairy Magdalene, | 0:41:04 | 0:41:09 | |
carved by Tilman Riemenschneider at the end of the 15th century. | 0:41:09 | 0:41:15 | |
Naked in the wilderness, | 0:41:17 | 0:41:20 | |
she's grown a thick pelt of neck-to-ankle body hair | 0:41:20 | 0:41:25 | |
to cover her modesty. | 0:41:25 | 0:41:27 | |
Riemenschneider was a German, | 0:41:29 | 0:41:32 | |
whose attitude to female nudity was furtive and uncomfortable. | 0:41:32 | 0:41:37 | |
But when the Italians started to paint penitent Magdalenes, | 0:41:37 | 0:41:41 | |
they had no such problem. | 0:41:41 | 0:41:43 | |
See, for instance, Titian's Magdalene. | 0:41:46 | 0:41:49 | |
Big-haired and beautiful, | 0:41:50 | 0:41:53 | |
in a plump, Venetian way. | 0:41:53 | 0:41:55 | |
She tries to cover her modesty with her gorgeous hair, | 0:41:56 | 0:42:01 | |
but it's all a bit half-hearted, isn't it? | 0:42:01 | 0:42:04 | |
So she's naked in this cave for 30 years, no food, no drink, | 0:42:07 | 0:42:12 | |
how did she survive? | 0:42:12 | 0:42:15 | |
With divine help, of course. | 0:42:15 | 0:42:17 | |
Seven times a day, the legends say, | 0:42:19 | 0:42:23 | |
angels would come down to her from heaven | 0:42:23 | 0:42:26 | |
and feed her on celestial music. | 0:42:26 | 0:42:29 | |
For 30 years, Mary Magdalene survived on ecstasy. | 0:42:31 | 0:42:37 | |
And in art, religious ecstasy and sexual ecstasy | 0:42:39 | 0:42:44 | |
are always difficult to tell apart. | 0:42:44 | 0:42:46 | |
When Artemisia Gentileschi came to paint the scene, | 0:42:50 | 0:42:54 | |
she produced something that goes off the scale on the steamy front. | 0:42:54 | 0:42:59 | |
Mary came to the cave to repent for her sins, | 0:43:01 | 0:43:06 | |
but by the time Artemisia got her hands on her, | 0:43:06 | 0:43:10 | |
she seemed to be enjoying them again. | 0:43:10 | 0:43:12 | |
And when you start enjoying the sin of fornication, | 0:43:14 | 0:43:18 | |
we all know what happens next. | 0:43:18 | 0:43:21 | |
There's a painting by Caravaggio of the Magdalene in ecstasy. | 0:43:29 | 0:43:34 | |
It was lost for many years, but it's recently turned up. | 0:43:34 | 0:43:38 | |
There she is, | 0:43:38 | 0:43:39 | |
open mouthed, transported in a dark pleasure. | 0:43:39 | 0:43:45 | |
Caravaggio was especially fond of Mary Magdalene. | 0:43:48 | 0:43:52 | |
He painted her a number of times. | 0:43:52 | 0:43:55 | |
And one image in particular haunts me. | 0:43:55 | 0:43:58 | |
It's a penitent Magdalene, but a particularly awkward one. | 0:44:02 | 0:44:07 | |
What a strange pose. | 0:44:07 | 0:44:10 | |
There's her spikenard, and the pearls she no longer needs. | 0:44:11 | 0:44:16 | |
But why would anyone sit like that? | 0:44:17 | 0:44:20 | |
I'm going to explain it to you, but first, a little quiz. | 0:44:23 | 0:44:27 | |
Here we have two low chairs. | 0:44:27 | 0:44:32 | |
Both have a specific purpose. | 0:44:32 | 0:44:35 | |
Do you know what it is? | 0:44:35 | 0:44:37 | |
Well, this one here... | 0:44:39 | 0:44:41 | |
..is what they call a prayer chair. | 0:44:42 | 0:44:45 | |
A prie-dieu. | 0:44:45 | 0:44:47 | |
You use it when you want to pray. | 0:44:47 | 0:44:50 | |
And the usual explanation for Caravaggio's Magdalene | 0:44:50 | 0:44:53 | |
is that she's sitting in one of these. | 0:44:53 | 0:44:56 | |
The trouble is, these aren't meant for sitting. | 0:44:59 | 0:45:03 | |
They're meant for kneeling. | 0:45:03 | 0:45:05 | |
Like so. | 0:45:08 | 0:45:10 | |
And that's not what the Magdalene is doing. | 0:45:10 | 0:45:13 | |
So I think she's actually sitting on one of these. | 0:45:15 | 0:45:20 | |
A birthing chair. | 0:45:20 | 0:45:23 | |
This is a modern one, | 0:45:23 | 0:45:24 | |
but they've been used for thousands of years, | 0:45:24 | 0:45:27 | |
an especially low chair, | 0:45:27 | 0:45:30 | |
on which a woman sits when she's giving birth to a baby. | 0:45:30 | 0:45:36 | |
Look at the way Caravaggio's Magdalene holds her hands. | 0:45:39 | 0:45:43 | |
The tenderness on her face. | 0:45:44 | 0:45:46 | |
It isn't just Dan Brown who insinuated that she was pregnant | 0:45:48 | 0:45:53 | |
when she came to France, | 0:45:53 | 0:45:55 | |
lots of artists have implied it. | 0:45:55 | 0:45:57 | |
Rogier van der Weyden, the master of the tear, | 0:46:01 | 0:46:06 | |
implied it with exceptional subtlety | 0:46:06 | 0:46:09 | |
in his beautiful Braque Triptych in the Louvre. | 0:46:09 | 0:46:13 | |
See how the laces of the Magdalene's corset are loosened | 0:46:14 | 0:46:18 | |
at the tummy. | 0:46:18 | 0:46:19 | |
In Flemish art, loosened laces are the sign of pregnancy. | 0:46:21 | 0:46:27 | |
There are various ways to read all this. | 0:46:30 | 0:46:33 | |
There's the Dan Brown way, | 0:46:33 | 0:46:35 | |
the sensational way, that she really was pregnant with Jesus' baby, | 0:46:35 | 0:46:42 | |
and that their descendants are still among us today, | 0:46:42 | 0:46:45 | |
plotting their return. | 0:46:45 | 0:46:47 | |
Or there's something more subtle. | 0:46:50 | 0:46:52 | |
The van der Weyden way, | 0:46:52 | 0:46:54 | |
in which Mary Magdalene's love of Jesus | 0:46:54 | 0:46:57 | |
is understood as a spiritual state. | 0:46:57 | 0:47:01 | |
What she's carrying is the Word of God. | 0:47:03 | 0:47:07 | |
That's what she came to France with. | 0:47:07 | 0:47:10 | |
She's the bride of Christ, but in the spiritual sense. | 0:47:11 | 0:47:15 | |
Inside Mary Magdalene is the Christian future. | 0:47:17 | 0:47:22 | |
THUNDER RUMBLES | 0:47:30 | 0:47:32 | |
You recognise that view, don't you? | 0:47:34 | 0:47:37 | |
It's one of the most famous views, not just in Provence, | 0:47:37 | 0:47:41 | |
but in the whole of art. | 0:47:41 | 0:47:43 | |
It is, of course, the Mont Sainte-Victoire, | 0:47:45 | 0:47:49 | |
Cezanne's favourite mountain. | 0:47:49 | 0:47:51 | |
Heaven knows how many times he painted it. | 0:47:52 | 0:47:56 | |
He was a local boy, a Provencal through and through. | 0:47:56 | 0:48:01 | |
And the great mountain was always on his horizon. | 0:48:01 | 0:48:04 | |
What you may not know, is that our cave, the Cave of Mary Magdalene, | 0:48:08 | 0:48:12 | |
is also over there on the other side of the mountain. | 0:48:12 | 0:48:16 | |
And Saint-Maximin-la-Baume is there as well | 0:48:16 | 0:48:20 | |
With Mary Magdalene's skull. | 0:48:20 | 0:48:22 | |
The presence of the Magdalene is something you feel everywhere | 0:48:25 | 0:48:30 | |
in Provence. | 0:48:30 | 0:48:32 | |
She's soaked into the region's history. | 0:48:32 | 0:48:35 | |
She's soaked into Cezanne. | 0:48:36 | 0:48:39 | |
Although he's thought of as the great pioneer of modern art, | 0:48:51 | 0:48:54 | |
which he was, | 0:48:54 | 0:48:55 | |
Cezanne had another side to him. | 0:48:55 | 0:48:58 | |
He was very religious in a blunt and Provencal way. | 0:48:58 | 0:49:03 | |
His views on art were progressive, | 0:49:04 | 0:49:09 | |
but his views on women were not. | 0:49:09 | 0:49:12 | |
This spectacularly awkward painting is Cezanne's penitent Magdalene. | 0:49:15 | 0:49:22 | |
He painted her in her cave, kneeling, praying for forgiveness. | 0:49:25 | 0:49:31 | |
There's a misshapen skull on her table, | 0:49:31 | 0:49:35 | |
and Mary herself is bulky and unglamorous. | 0:49:35 | 0:49:40 | |
So unglamorous she looks more like a man than a woman. | 0:49:40 | 0:49:45 | |
When you first see it, it's a very unappealing picture, | 0:49:46 | 0:49:50 | |
clumsy and dark. | 0:49:50 | 0:49:53 | |
But one of the great things about film cameras is that they allow you | 0:49:53 | 0:49:57 | |
to get really close to paintings. | 0:49:57 | 0:50:00 | |
When you get really close to Cezanne's Magdalene, | 0:50:00 | 0:50:05 | |
the clumsiness fades down, | 0:50:05 | 0:50:09 | |
and the pathos fades up. | 0:50:09 | 0:50:11 | |
Those white blobs above her head, incidentally, | 0:50:16 | 0:50:19 | |
are the pearls that fell from the roof of her cave. | 0:50:19 | 0:50:23 | |
Pearls, they say, made out of the Magdalene's tears. | 0:50:23 | 0:50:27 | |
Tears are the scarlet woman's great gift to art. | 0:50:31 | 0:50:35 | |
And in Provence, the Magdalene and her tears are never far away. | 0:50:36 | 0:50:42 | |
So, in this, Mary Magdalene comes to France pregnant. | 0:50:53 | 0:50:58 | |
She has Jesus' baby, and establishes a dynasty | 0:50:58 | 0:51:03 | |
that marries into the French royal family. | 0:51:03 | 0:51:07 | |
And they're still out there today, somewhere. | 0:51:07 | 0:51:11 | |
It's complete nonsense. | 0:51:11 | 0:51:14 | |
Utter fantasy. | 0:51:14 | 0:51:16 | |
But Mary Magdalene's story is 99% fantasy. | 0:51:16 | 0:51:21 | |
Most of it has been made up. | 0:51:21 | 0:51:23 | |
What's really remarkable though, is how influential it's been. | 0:51:23 | 0:51:28 | |
That's why I've brought you to this beach again. | 0:51:31 | 0:51:36 | |
And this is where Van Gogh comes in. | 0:51:36 | 0:51:40 | |
We're just up the road from Arles, | 0:51:40 | 0:51:43 | |
deep in Van Gogh country. | 0:51:43 | 0:51:46 | |
We all know what Van Gogh did in Provence. | 0:51:49 | 0:51:51 | |
He painted some of the most celebrated masterpieces | 0:51:51 | 0:51:55 | |
of postimpressionist art. | 0:51:55 | 0:51:57 | |
And on this beach, at Saintes-Maries-de-la-Mer, | 0:51:57 | 0:52:00 | |
he painted his famous boats pulled up on the sand. | 0:52:00 | 0:52:04 | |
It's the same beach on which Mary Magdalene was said | 0:52:07 | 0:52:11 | |
to have landed with her fellow Marys. | 0:52:11 | 0:52:14 | |
Three boatloads of ancient Christians, | 0:52:15 | 0:52:19 | |
washed up without rudders or sails at Saintes-Maries-de-la-Mer. | 0:52:19 | 0:52:24 | |
And if you look carefully, | 0:52:27 | 0:52:29 | |
you'll see that the battered box also washed up on the beach | 0:52:29 | 0:52:35 | |
is signed "Vincent." | 0:52:35 | 0:52:37 | |
One of the big mysteries of Van Gogh | 0:52:40 | 0:52:42 | |
that's always puzzled people, | 0:52:42 | 0:52:43 | |
is why he came to this bit of Provence in the first place. | 0:52:43 | 0:52:47 | |
I mean, he had the whole of the South of France to choose from. | 0:52:47 | 0:52:51 | |
So why pick somewhere as pokey and backward as this? | 0:52:51 | 0:52:56 | |
TRAIN WHISTLES | 0:52:56 | 0:53:00 | |
Well, I have a theory about that. | 0:53:00 | 0:53:02 | |
It involves Mary Magdalene and this book here. | 0:53:02 | 0:53:06 | |
Mireio by Frederic Mistral, | 0:53:06 | 0:53:08 | |
the greatest Provencal poet. | 0:53:08 | 0:53:11 | |
It's set at Saintes-Maries-de-la-Mer, | 0:53:11 | 0:53:14 | |
right here, | 0:53:14 | 0:53:15 | |
and a few miles up the road in Arles, | 0:53:15 | 0:53:17 | |
where Van Gogh cut off his ear, | 0:53:17 | 0:53:19 | |
so notoriously. | 0:53:19 | 0:53:20 | |
And it tells the story of a beautiful local girl called Mireio, | 0:53:20 | 0:53:26 | |
and a soulful young man, who falls in love with her, | 0:53:26 | 0:53:30 | |
named Vincent. | 0:53:30 | 0:53:32 | |
Vincent is a humble basket weaver. | 0:53:33 | 0:53:37 | |
An itinerant craftsman who fixes chairs. | 0:53:37 | 0:53:41 | |
Like the one Van Gogh painted as a stand in for himself | 0:53:42 | 0:53:47 | |
in the yellow house in Arles. | 0:53:47 | 0:53:49 | |
Mireio, meanwhile, was from the other side of the tracks, | 0:53:50 | 0:53:55 | |
the daughter of a local landowner - | 0:53:55 | 0:53:58 | |
rich, spirited, and lovely. | 0:53:58 | 0:54:02 | |
They meet in an orchard, Vincent loves Mireio immediately, | 0:54:03 | 0:54:08 | |
and she loves him. | 0:54:08 | 0:54:10 | |
But her father disapproves, so they make a pact. | 0:54:10 | 0:54:14 | |
If anything is to happen to either of them, | 0:54:14 | 0:54:16 | |
they should meet over there at the Church of Saintes-Maries-de-la-Mer, | 0:54:16 | 0:54:21 | |
where Mary Magdalene and her fellow Marys will look after them, | 0:54:21 | 0:54:26 | |
and save them. | 0:54:26 | 0:54:28 | |
Mireio was turned into an opera by Charles Gounod. | 0:54:32 | 0:54:38 | |
And it was playing in Brussels when Van Gogh lived there, | 0:54:38 | 0:54:42 | |
studying to be a preacher. | 0:54:42 | 0:54:45 | |
OPERA MUSIC PLAYS | 0:54:45 | 0:54:46 | |
In the opera, there's an important moment set in the arena in Arles, | 0:54:56 | 0:55:01 | |
where Vincent meets Mireio at the bullfights, | 0:55:01 | 0:55:05 | |
and they grab a secret moment to express their love. | 0:55:05 | 0:55:09 | |
Interestingly, just before he came to Arles, | 0:55:15 | 0:55:18 | |
Van Gogh started to sign his work "Vincent". | 0:55:18 | 0:55:24 | |
It's an unusual thing to do, to use your Christian name so often, | 0:55:24 | 0:55:29 | |
so prominently. | 0:55:29 | 0:55:31 | |
He said it was because people found Van Gogh difficult to pronounce. | 0:55:35 | 0:55:40 | |
But there's something insistent about that signature, | 0:55:40 | 0:55:44 | |
something declamatory, | 0:55:44 | 0:55:47 | |
and loud. | 0:55:47 | 0:55:48 | |
While we're on the subject of names, Mireio is Provencal for Mireille, | 0:55:54 | 0:56:00 | |
and both are derived from Miriam, | 0:56:00 | 0:56:03 | |
a biblical name that's also used sometimes for Mary Magdalene. | 0:56:03 | 0:56:08 | |
Mireio, Mireille, Miriam, Mary - | 0:56:12 | 0:56:17 | |
she switched identities more often than Jason Bourne. | 0:56:17 | 0:56:21 | |
But whatever she called herself, | 0:56:22 | 0:56:25 | |
artists couldn't stop dreaming about her. | 0:56:25 | 0:56:28 | |
So what am I saying? | 0:56:34 | 0:56:35 | |
What I'm saying is that this poem and the opera made from it | 0:56:35 | 0:56:40 | |
played a decisive role in Van Gogh's life. | 0:56:40 | 0:56:44 | |
I'm saying that Van Gogh came to Saintes-Maries-de-la-Mer | 0:56:46 | 0:56:50 | |
because of it. | 0:56:50 | 0:56:52 | |
And that's why he painted the beach, and the boats. | 0:56:52 | 0:56:55 | |
I'm saying he painted the bullring in Arles | 0:56:56 | 0:57:00 | |
because that's where Vincent met Mireio. | 0:57:00 | 0:57:04 | |
And that this could be him and her, right there. | 0:57:04 | 0:57:07 | |
I'm saying that Van Gogh began calling himself Vincent, | 0:57:10 | 0:57:15 | |
not for reasons of pronunciation, | 0:57:15 | 0:57:18 | |
but because he identified so fiercely | 0:57:18 | 0:57:21 | |
with the humble basket weaver. | 0:57:21 | 0:57:24 | |
I think he came here looking for love. | 0:57:27 | 0:57:30 | |
Mistral's poem haunted him. | 0:57:30 | 0:57:32 | |
It singled him out, and filled him with yearning. | 0:57:32 | 0:57:36 | |
I think he came to Arles because that's where Mireio is set. | 0:57:36 | 0:57:40 | |
And I think he came here to Saintes-Maries-de-la-Mer | 0:57:40 | 0:57:44 | |
because this is where Vincent and Mireio ended up, | 0:57:44 | 0:57:48 | |
in this church, in front of Mary Magdalene. | 0:57:48 | 0:57:52 | |
And that's the thing about the story of Mary Magdalene. | 0:57:56 | 0:57:59 | |
It twists here and there, | 0:57:59 | 0:58:02 | |
but it keeps coming back to love. | 0:58:02 | 0:58:05 | |
So there we have it. | 0:58:12 | 0:58:13 | |
How a few grains of truth were turned into the mountain of fantasy | 0:58:13 | 0:58:18 | |
that is Mary Magdalene. | 0:58:18 | 0:58:20 | |
She's a work of fiction. | 0:58:22 | 0:58:24 | |
One of the great female leads created by the artistic mind. | 0:58:24 | 0:58:30 | |
But where most fictional characters are the work of a single author, | 0:58:30 | 0:58:36 | |
Mary Magdalene is a communal achievement. | 0:58:36 | 0:58:39 | |
MUSIC: Charmer Gip Die Varwe Mir by Carl Orff | 0:58:39 | 0:58:43 |