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2º ESO/ROMANESQUE ART AND ARCHITECTURE - Contenido educativo
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Hello! This video covers Romanesque Europe, so Europe around the year 1100 or so,
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plus or minus. Romanesque just means Roman-like, but be careful. Don't use the
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term Romanesque just to describe anything that looks ancient Roman. This is a very
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specific period in the later part of the Middle Ages, just before the Gothic
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period starts really taking hold, so just be sure that you when you're using the
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term Romanesque, you're only using it to describe this period. Really don't use it
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to describe something that looks ancient Roman in general. So it does mean
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Roman-like in this case, but that means that they're using some of the
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type of architectural features of ancient Rome. Things like the pure
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semicircular arch, a lot of masonry, or a lot of stonework. So here I have an image
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of a Roman aqueduct just giving you an idea of those kind of archways that
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we're gonna see in the Romanesque style of architecture. We also see a clear
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focus on relics and reliquaries, which had been important in Christianity, but
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really gained a higher level of importance during this period. We'll talk
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about the Crusades a little bit, which were an important reason for warfare, for
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interaction, for trade around this time. You have an apocalyptic mood going on, so
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remember around the year 1000, everyone was very nervous about the end of the
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world? Well, that kind of mood will continue to survive and stay around for
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a while. The Roman Nostyle spreads from France and Spain over to Germany and
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Italy, so we'll see some examples in all of those countries in this lecture. So,
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starting off, I just want to show an example of a reliquary. This reliquary
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comes from France, from Conques, which was an important pilgrimage church. This
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represents St. Foy, and it includes kind of an amalgam of different materials. So,
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it includes an ancient Roman helmet and cameos. It includes beautiful stones,
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precious stones, semi-precious stones, similar to the Lindau Gospel covers that
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we saw in the early medieval lecture. Very ornamented work that celebrates an
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early Christian martyr, and it's said to hold her relics, hold these relics of
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this important martyr. So this was how these relics and reliquaries worked. So
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the relic is the actual body part inside, or the object that this holy figure was
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said to have touched, or a garment that maybe they wore. So the relic is actually
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inside, the reliquary is the case that it would go in. So here we're seeing the
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reliquary, and the relic is presumably inside. So the idea is that you make it
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as beautiful as possible to speak highly of these relics, which are real
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generators of income and of interest in different churches. So if you had a
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really important relic and reliquary, that meant that you were going to get
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more visitors, more pilgrims coming to your church, and Conk was an important
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pilgrimage church, so you would have visitors making their
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pilgrimages and making sure that they stopped in this church to see some of
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the important relics and reliquaries there. This is an example of what we call
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furta sacra or holy theft, this idea that you can steal a relic and reliquary from
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another monastery. So these relics were said to have been translated to one spot
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or said to have arrived at a site, and then they were stolen by a monk to bring
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them to conch. So what would happen is you'd often have a monk who would kind
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of end up in a monastery. He would wait a while, wait till he could get
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access to a relic, and then bring it back to his home abbey, or bring it back to
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his home monastery. So there was definitely a system of taking these
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relics from one place to another for spiritual reasons, community reasons,
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possibly monetary reasons, too, in order to generate income for one's church. So
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this is an example of that kind of theft. People also saw problems with this kind
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of visual richness of the gold and the materials, the stones that were used, that
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this could be problematic. And there was a Cistercian monk who's quite austere,
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Abbot of Clairvaux. His name is Bernard of Clairvaux. He was very unhappy with
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some of the worship of relics and reliquaries that eyes were fixed on
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relics covered with gold. The thoroughly beautiful image of some male or female
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female saint is exhibited, and that saint is believed to be the more
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holy, the more highly colored the image is. So, this worry about idolatry, about
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possibly worshiping these images as if they are gods, or just the fact that they
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look beautiful, that you should worship them even though there might be other
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saints that might be more worthy of one's devotion. So, these weren't
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universally appreciated by all. What did these pilgrimage churches look like?
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Let's have a look at Santiago de Compostela, which would be the most
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important. It's way at the end of Spain, way in the end of northern Spain, so it
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really was at the end of the known world at that point. Remember, we haven't
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arrived in the Americas yet. So this idea that you would make a pilgrimage all the
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way out to the western coast of Spain, out to where you could pick up this kind
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scallop shell, the seashell that would mark your pilgrimage and mark the fact
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that you've made this great effort to arrive at this important church that was
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sacred to St. James. So if we look here, you can see this is a typical pilgrimage
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plan where you have radiating chapels, these little bumps sticking out at the
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end of these radiating chapels, where you can easily store relics. Also, you tend to
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see large barrel vaults done in masonry. So this adds a vaulting like the vaults
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of the heavens, but also adds a bit of fire protection, so you no longer have flat timber
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roofs, flat roofs made out of wood. This way you have a vaulted ceiling looking like the
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heavens, but also it's made of stone, so it protects your church. The downside to this
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is these are so heavy that they were very worried about poking or piercing the walls
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with windows, so you tend to see rather small windows or windows with really, really thick
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sides to them, so you don't get a lot of light in these churches. They tend to be pretty
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dark and dungeon-like. In this church here, I'm showing you an image where
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there's quite a bit of artificial illumination, but just to give you a
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sense of what that would have been like. And Santiago today has had a lot of
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changes, Baroque additions for much later, so I'm showing you a reconstruction of
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what the church would have looked like originally. And here I'm just showing you
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some important elements of Romanesque architecture. So the most important is
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this ambulatory with radiating chapels, which allows pilgrims to visit to see
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the relics without interrupting any of the rituals or liturgy going on in the
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in the nave, the area of the crossing square, the side aisle,
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the area of the transect. And just a quick note, the crossing square really was
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the way that you would measure different ratios of the church.
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So, for example, this area here between
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the column and the pier here, you have an area that would be half the size of
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the crossing square, and this area in the side aisle is one-fourth the size of the
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crossing square.
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So this way, all your measurements are related. Carry on.
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Another thing we tend to see in Romanesque churches is a lot of sculptural
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decoration, but not the kind of heavy figures that we tend to see
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in the Roman or Greek period. These figures tend to be a little bit thinner.
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Remember, the human body is
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a little bit de-emphasized, a little bit abstracted during this period.
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It emphasizes spirituality. It also keeps people from having any
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impure thoughts about the human body when you're inside church.
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So what we tend to see is along the naves and the side aisles of churches
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is we see some beautiful sculpted column capitals. So here we're looking into a
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church
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at Vézelay, and you can see
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very traditional Romanesque style, barrel vaulting,
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kind of those alternating voussoirs, which we've seen before.
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And so one example is Samson and the Lion, which is a story from the Old Testament
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that may allude to this idea of Christ's struggle
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or fight with the devil, kind of this idea of, like, fighting off sin or fighting off
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challenges, fighting off evil.
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So these often could be read on multiple levels. Another interesting one is the
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abduction of Ganymede,
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which refers back, of course, to a Greco-Roman myth
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of Zeus spotting a beautiful Trojan youth, Ganymede, and then abducting him
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and bringing him up to be with the gods to be
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on Mount Olympus. And so this is obviously a very odd selection, but it may speak to
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kind of the dangers of
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older monks preying on some of the younger boys that were entering the
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monastery,
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or just another commentary of ideas of sin in the Christian church at this time.
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So you can see this bird. Zeus was said to have transformed himself
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into a bird, into an eagle, to come and grab onto Ganymede here, who you see
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as this young boy and then this kind of devil-y creature
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grabbing onto the bird from behind. And then next, a very famous image from the
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Romanesque period
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is this idea of the mystic mill, and this also refers back to the idea of having
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the Old Testament
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and then kind of refining that as you move into the New Testament, in the
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period of Christ, and this idea of salvation being brought with Christ.
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So you have Moses here pouring grain, and of course
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grain would have really been an image that so many individuals here would have
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been familiar with, this idea of bread being important, grain being important,
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an important piece of their survival around this time.
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So you have Moses pouring grain, which symbolizes the Old Testament, into
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the mill, which is Christ, this idea of
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he's refining the message
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into this sack
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that the Apostle Paul is collecting. So, this idea of transforming the Old Testament,
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which predicts certain elements of Christ's coming, which
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tells of certain elements that are relevant
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when Christ comes, and Christ is going to refine that message
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through the New Testament, and through his arrival, and through his offer of salvation.
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So, that is represented there. We also will see it in stained glass windows later on
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and in other representations in art history.
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Another representation that we see very frequently is still this
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idea of the Last Judgment, which of course is very relevant
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around the year 1000, but remained important until later on.
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This is a tympanum, which is a semicircular form right above a portal,
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right above
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a door to a Romanesque church. This is a church in France,
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and what's important about it is we know the sculptor. We believe a sculptor named
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Gislibertus.
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It says his name, that he did this. He could be, I guess, the patron.
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That's been some people suggest that, but he
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apparently was a very well-known sculptor, had a workshop,
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and he took credit for some of these works. So we believe that he was probably the
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sculptor here.
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These bodies do tend to be more abstract, more elongated, more spiritual in their
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overall quality.
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You can see there would have been a little bit of paint applied. There's some pigment
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that survives.
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And the main idea here is you have Christ, obviously very powerful, strong,
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as judge at center. Figures who have
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been awakened and are waiting for this moment of judgment,
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kind of hesitantly along the bottom, with little angels kind of hurrying them along,
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saying, come on, come on, keep moving. And then you have figures being boosted up
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into heaven, right over here with the Virgin Mary
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on this side. So remember, Christ's blessed side is the right side,
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and more of the negative side is the left side. So,
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of course, on his left is more of the hellish side, with people being pushed
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into the hell mouth, people's souls being weighed, and these little devil figures kind of pulling on
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the scale to manipulate it. So definitely a scarier side here, and a more pleasant side here, which
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would, of course, remind people of judgment as they came into the church. So reminding them
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to behave themselves. Another reminder of behaving oneself would be this image of Eve, which we see
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in another portal of the church, in the north portal, in one of the lintels. And what we see
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here is Eve looking almost like a snake. She's kind of slithering along the
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ground there, and it's as if she's calling to Adam. We see her calling, and
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she is represented nude, but strategically covered here. She's
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grabbing onto the fruit. We see a little snake figure here, but this idea that she
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is this individual who's inciting sin, who's calling for him, and it's another
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example of Gisli Berchtes' style sculpture. Demonstrating the kind of
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spirituality of this time. If we move over to Germany, we see an individual
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named Hildegard of Bingen, or Hildegard von Bingen. This no longer survives. We
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see it here as a facsimile, so just a reproduction in color, but gives the
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sense of the kind of spiritual moments that people were having at this time, or
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were said to have been having, the intense experiences, the way they would
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describe their Christian faith. So Hildegard was one who was said to have
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have received visions. She dictated her visions to a monk, and we see her here in
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kind of one of those moments. So the architecture she's in is quite abstract.
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Her drapery is very typical of the time. It doesn't reveal a lot of the body
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underneath, very stylized drapery folds. And we see her here working away on a
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wax tablet, trying to feverishly record what's, you know, what's going on, because
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you see these little almost like flames or fingers coming down on her head. And
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so she's feverishly writing all this down, and this monk, of course, is trying
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to catch every word of it as well, just in case she misses something or in case
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it's not coming very clearly. So she started receiving these visions very
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young, and she was a very learned woman. She wrote scientific treatises and
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composed music, and she's one of the few women that we hear about from this
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period. So it's interesting to think about her role in this time. And we also
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see the Romanesque style going into places like Italy, very famous series of
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structures, which would be the cathedral complex at Pisa, most famous for its
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Campanile or its Leaning Tower here, but you have that kind of Romanesque style
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with the emphasis on semicircular arches, although because we are in Italy, we're
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still seeing a strong influence coming from ancient Roman basilicas with the
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flat roofs, and in fact this doesn't have a barrel vault. If you go inside the
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cathedral, it's a flat roof, but you do have a lot of these semicircular arches,
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and you can see later on they added Gothic elements like these gables with
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little crockets sticking out,
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kind of those prickly elements that we tend to associate with the Gothic period.
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So, the Romanesque style is definitely spreading,
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and then the Gothic style will spread later on as well. And then finally, we'll
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stop off in Italy and just briefly look at things like the Bayeux Tapestry, which
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records the Battle of Hastings, a very important battle
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in 1066, which was a battle to take over for
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King Edward. So William, who's named William the Conqueror after he wins, so
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he's the winner. He was Duke of Normandy, so the area of northern France, and he's
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going against Harold, Earl of Wessex, and this just records the entire storyline
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on a tapestry that runs over 200 feet in length, and technically it's more of an
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embroidery than a tapestry. And then we also have the development of this move
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towards more of a Gothic style with ribbed groin vaulting, which we see here
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at Durham Cathedral. So we'll move towards this idea of taller churches
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with more ornate architecture.
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- Subido por:
- Alicia M.
- Licencia:
- Dominio público
- Visualizaciones:
- 80
- Fecha:
- 15 de noviembre de 2020 - 17:24
- Visibilidad:
- Público
- Centro:
- IES LA SENDA
- Duración:
- 15′ 01″
- Relación de aspecto:
- 1.34:1
- Resolución:
- 484x360 píxeles
- Tamaño:
- 24.83 MBytes