[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:04.45,0:00:06.78,Default,,0000,0000,0000,,*Art ...*
Dialogue: 0,0:00:06.78,0:00:08.13,Default,,0000,0000,0000,,{\i1}ArtSleuth{\i0}
Dialogue: 0,0:00:13.88,0:00:16.30,Default,,0000,0000,0000,,A man
Dialogue: 0,0:00:16.32,0:00:18.28,Default,,0000,0000,0000,,Among rocks
Dialogue: 0,0:00:20.77,0:00:23.75,Default,,0000,0000,0000,,With a town in the background
Dialogue: 0,0:00:23.81,0:00:25.81,Default,,0000,0000,0000,,A picture by Giovanni Bellini
Dialogue: 0,0:00:27.76,0:00:30.56,Default,,0000,0000,0000,,A hero seeking inspiration in a glorious landscape?
Dialogue: 0,0:00:32.50,0:00:33.64,Default,,0000,0000,0000,,Better than that:
Dialogue: 0,0:00:34.38,0:00:37.96,Default,,0000,0000,0000,,the supreme champion of life lived simply and in harmony with nature:
Dialogue: 0,0:00:38.02,0:00:39.50,Default,,0000,0000,0000,,Saint Francis of Assisi ...
Dialogue: 0,0:00:39.68,0:00:43.18,Default,,0000,0000,0000,,… in a landscape touched by the fantastic!
Dialogue: 0,0:00:43.28,0:00:45.04,Default,,0000,0000,0000,,• two suns light the scene:
Dialogue: 0,0:00:45.06,0:00:48.68,Default,,0000,0000,0000,,• one in the direction the saint is looking
Dialogue: 0,0:00:48.82,0:00:50.16,Default,,0000,0000,0000,,• the other in the background
Dialogue: 0,0:00:52.56,0:00:57.38,Default,,0000,0000,0000,,• and the palms of his hands are bleeding
Dialogue: 0,0:00:57.44,0:00:59.48,Default,,0000,0000,0000,,The last recalls a miracle
Dialogue: 0,0:00:59.50,0:01:04.06,Default,,0000,0000,0000,,which Bellini’s predecessors happily gave the full Hollywood treatment:
Dialogue: 0,0:01:04.14,0:01:05.76,Default,,0000,0000,0000,,Celestial beings,
Dialogue: 0,0:01:05.80,0:01:06.94,Default,,0000,0000,0000,,bright light from on high,
Dialogue: 0,0:01:09.38,0:01:11.04,Default,,0000,0000,0000,,gaping wounds.
Dialogue: 0,0:01:12.26,0:01:15.08,Default,,0000,0000,0000,,So why does Bellini tone everything down?
Dialogue: 0,0:01:15.20,0:01:19.62,Default,,0000,0000,0000,,250 years have passed since the death of Saint Francis
Dialogue: 0,0:01:19.70,0:01:23.96,Default,,0000,0000,0000,,This sumptuous picture has been acquired by a group of Venetian magnates…
Dialogue: 0,0:01:24.02,0:01:26.28,Default,,0000,0000,0000,,… one of them a fabulously rich merchant banker:
Dialogue: 0,0:01:26.32,0:01:30.08,Default,,0000,0000,0000,,do they really believe in the poverty preached by the saint?
Dialogue: 0,0:01:30.16,0:01:35.30,Default,,0000,0000,0000,,And does Bellini - Renaissance painter and scholar in one, have doubts concerning miracles
Dialogue: 0,0:01:35.30,0:01:39.52,Default,,0000,0000,0000,,… which subvert the natural order?
Dialogue: 0,0:01:39.56,0:01:44.15,Default,,0000,0000,0000,,Or does he really want to paint a dazzling landscape, with Saint Francis as mere pretext?
Dialogue: 0,0:01:44.16,0:01:45.78,Default,,0000,0000,0000,,*BELLINI – Saint Francis in the desert*
Dialogue: 0,0:01:45.80,0:01:47.64,Default,,0000,0000,0000,,*Not miracle, but landscape?*
Dialogue: 0,0:01:49.45,0:01:51.26,Default,,0000,0000,0000,,Part 1. *Natural miracle*
Dialogue: 0,0:01:52.75,0:01:57.10,Default,,0000,0000,0000,,Is Bellini trying to make the miracle seem {\i1}natural{\i0}?
Dialogue: 0,0:01:57.20,0:02:01.30,Default,,0000,0000,0000,,The saint’s holy retreat in the mountains occupies the foreground …
Dialogue: 0,0:02:01.30,0:02:03.30,Default,,0000,0000,0000,,…close to a cave where he has made his home.
Dialogue: 0,0:02:04.45,0:02:07.10,Default,,0000,0000,0000,,Further back, a rural landscape,
Dialogue: 0,0:02:07.10,0:02:10.75,Default,,0000,0000,0000,,separated from the foreground by jagged rocks
Dialogue: 0,0:02:10.75,0:02:12.75,Default,,0000,0000,0000,,and this screen of vegetation
Dialogue: 0,0:02:22.40,0:02:28.35,Default,,0000,0000,0000,,and, behind a quietly flowing river, urban civilisation:
Dialogue: 0,0:02:28.35,0:02:30.85,Default,,0000,0000,0000,,a town ...
Dialogue: 0,0:02:30.85,0:02:34.45,Default,,0000,0000,0000,,…and buildings perched on hilltops,
Dialogue: 0,0:02:34.45,0:02:38.25,Default,,0000,0000,0000,,beneath a peaceful sky
Dialogue: 0,0:02:38.25,0:02:40.25,Default,,0000,0000,0000,,Standing firmly erect in his rough, homespun habit,
Dialogue: 0,0:02:40.25,0:02:43.05,Default,,0000,0000,0000,,the saint is in the world, and yet outside it too,
Dialogue: 0,0:02:43.05,0:02:45.45,Default,,0000,0000,0000,,with his gaze fixed on a strange source of light.
Dialogue: 0,0:02:45.45,0:02:48.05,Default,,0000,0000,0000,,Is it the autumn sun?
Dialogue: 0,0:02:48.05,0:02:51.35,Default,,0000,0000,0000,,Since the saint is either open-mouthed in wonder, or possibly singing,
Dialogue: 0,0:02:51.35,0:02:55.80,Default,,0000,0000,0000,,since this bewildered rabbit has started from its burrow
Dialogue: 0,0:02:55.80,0:02:59.60,Default,,0000,0000,0000,,since the saint has dropped his stick and sandals,
Dialogue: 0,0:03:01.15,0:03:03.35,Default,,0000,0000,0000,,since this foliage is lit from the front ...
Dialogue: 0,0:03:03.35,0:03:06.85,Default,,0000,0000,0000,,although the walls in the distance are in shadow …
Dialogue: 0,0:03:08.45,0:03:12.40,Default,,0000,0000,0000,,…we tend to feel that something less mundane is happening.
Dialogue: 0,0:03:12.40,0:03:17.35,Default,,0000,0000,0000,,Is the angel, the seraph, appearing to Saint Francis?
Dialogue: 0,0:03:17.35,0:03:20.10,Default,,0000,0000,0000,,Legend has it that night turned to day,
Dialogue: 0,0:03:20.10,0:03:22.75,Default,,0000,0000,0000,,to the near-by shepherds’ amazement.
Dialogue: 0,0:03:26.55,0:03:29.30,Default,,0000,0000,0000,,Of course, that might explain why the town is so quiet
Dialogue: 0,0:03:29.30,0:03:31.30,Default,,0000,0000,0000,,- not a soul in sight!
Dialogue: 0,0:03:33.25,0:03:37.45,Default,,0000,0000,0000,,But there’s no physical trace of the angel:
Dialogue: 0,0:03:37.45,0:03:39.45,Default,,0000,0000,0000,,the light in the foreground might come from a comet,
Dialogue: 0,0:03:43.85,0:03:46.90,Default,,0000,0000,0000,,and that in the background from the sun.
Dialogue: 0,0:03:50.90,0:03:52.85,Default,,0000,0000,0000,,But the painter goes even further.
Dialogue: 0,0:03:52.85,0:03:55.85,Default,,0000,0000,0000,,The heart of the miracle was the stigmata,
Dialogue: 0,0:03:55.85,0:03:58.80,Default,,0000,0000,0000,,the five wounds of the crucified Christ,
Dialogue: 0,0:03:58.80,0:04:01.75,Default,,0000,0000,0000,,which Saint Francis received kneeling down.
Dialogue: 0,0:04:03.20,0:04:05.15,Default,,0000,0000,0000,,Here, however, he is standing
Dialogue: 0,0:04:05.15,0:04:07.45,Default,,0000,0000,0000,,- and the wounds have been touched in so lightly that,
Dialogue: 0,0:04:07.45,0:04:11.20,Default,,0000,0000,0000,,on the left foot, they have vanished.
Dialogue: 0,0:04:11.20,0:04:13.20,Default,,0000,0000,0000,,And the wounds are simply marked with blood,
Dialogue: 0,0:04:14.95,0:04:20.05,Default,,0000,0000,0000,,although the saint’s first biographers tell us that his own flesh took on the shape of the nails…
Dialogue: 0,0:04:20.05,0:04:22.55,Default,,0000,0000,0000,,… and the wound in the side,
Dialogue: 0,0:04:22.55,0:04:25.35,Default,,0000,0000,0000,,which distinguished Christ from the thieves crucified with him…
Dialogue: 0,0:04:25.35,0:04:27.35,Default,,0000,0000,0000,,… does not appear in the picture.
Dialogue: 0,0:04:30.45,0:04:33.55,Default,,0000,0000,0000,,Light and perspective make the saint’s stigmatisation *a metaphor: *
Dialogue: 0,0:04:33.55,0:04:37.10,Default,,0000,0000,0000,,he is, as it were,
Dialogue: 0,0:04:37.10,0:04:38.80,Default,,0000,0000,0000,,virtually nailed to this crucifix,
Dialogue: 0,0:04:38.80,0:04:45.15,Default,,0000,0000,0000,,relegated to the edge of the picture.**
Dialogue: 0,0:04:45.15,0:04:47.20,Default,,0000,0000,0000,,In other words, he is no longer singled out by a spectacular manifestation of divine power:
Dialogue: 0,0:04:47.20,0:04:50.20,Default,,0000,0000,0000,,we are reminded of the miracle, but are not necessarily seeing it happen.
Dialogue: 0,0:04:51.10,0:04:55.70,Default,,0000,0000,0000,,The picture’s originality is more a matter of the saint’s posture and relationship with nature.
Dialogue: 0,0:04:55.70,0:05:02.00,Default,,0000,0000,0000,,Is the landscape indeed its real subject?
Dialogue: 0,0:05:03.81,0:05:05.90,Default,,0000,0000,0000,,Part 2. Nature v. town?
Dialogue: 0,0:05:06.70,0:05:10.37,Default,,0000,0000,0000,,There is no river or town near the real Monte Alverna,
Dialogue: 0,0:05:10.37,0:05:12.37,Default,,0000,0000,0000,,the saint’s chief retreat.
Dialogue: 0,0:05:14.05,0:05:15.85,Default,,0000,0000,0000,,And so this is not an actual landscape,
Dialogue: 0,0:05:15.85,0:05:18.30,Default,,0000,0000,0000,,but a figment of Bellini’s {\i1}imagination{\i0}!
Dialogue: 0,0:05:19.20,0:05:22.65,Default,,0000,0000,0000,,The town stands for the saint’s former life:
Dialogue: 0,0:05:28.47,0:05:32.87,Default,,0000,0000,0000,,The life of an arrogant “rich kid” from a family of cloth merchants.
Dialogue: 0,0:05:34.25,0:05:37.00,Default,,0000,0000,0000,,The life of the new bourgeoisie who,
Dialogue: 0,0:05:37.00,0:05:39.00,Default,,0000,0000,0000,,with their talent for trade and finance,
Dialogue: 0,0:05:39.00,0:05:41.00,Default,,0000,0000,0000,,are making Italy’s cities wealthy
Dialogue: 0,0:05:41.00,0:05:43.00,Default,,0000,0000,0000,,- and starting to worry about their own salvation.
Dialogue: 0,0:05:43.37,0:05:46.57,Default,,0000,0000,0000,,A life which Saint Francis puts behind him:
Dialogue: 0,0:05:46.57,0:05:48.57,Default,,0000,0000,0000,,he renounces his possessions;
Dialogue: 0,0:05:51.12,0:05:55.02,Default,,0000,0000,0000,,the bridge in the picture is symbolically cut
Dialogue: 0,0:05:57.95,0:06:01.00,Default,,0000,0000,0000,,every knot on his coarse habit represents a vow
Dialogue: 0,0:06:01.00,0:06:02.42,Default,,0000,0000,0000,,- of poverty,
Dialogue: 0,0:06:02.42,0:06:04.07,Default,,0000,0000,0000,,chastity,
Dialogue: 0,0:06:04.07,0:06:07.25,Default,,0000,0000,0000,,obedience - …
Dialogue: 0,0:06:07.25,0:06:10.72,Default,,0000,0000,0000,,… which he clearly honours :
Dialogue: 0,0:06:10.72,0:06:13.77,Default,,0000,0000,0000,,• The only trace of a meal, this simple pitcher,
Dialogue: 0,0:06:13.77,0:06:15.77,Default,,0000,0000,0000,,• The only sign of a church, this handbell,
Dialogue: 0,0:06:16.65,0:06:20.15,Default,,0000,0000,0000,,• His only means of study, this book and parchment.
Dialogue: 0,0:06:20.15,0:06:22.82,Default,,0000,0000,0000,,• A heron as symbol of fidelity to the Church
Dialogue: 0,0:06:22.82,0:06:24.82,Default,,0000,0000,0000,,- or of the old sybaritic lifestyle.
Dialogue: 0,0:06:24.82,0:06:30.15,Default,,0000,0000,0000,,• And the donkey to carry him - and symbolise bodily service,
Dialogue: 0,0:06:30.15,0:06:33.67,Default,,0000,0000,0000,,But the town itself is not demonised:
Dialogue: 0,0:06:33.67,0:06:37.05,Default,,0000,0000,0000,,•the donkey reminds us that Jesus returned to Jerusalem,
Dialogue: 0,0:06:37.05,0:06:41.47,Default,,0000,0000,0000,,•the shepherd that the gospel must be preached to the “lost sheep”…,
Dialogue: 0,0:06:43.70,0:06:49.35,Default,,0000,0000,0000,,Saint Francis seems to be saying that city-dwellers have forgotten the meaning of {\i1}gratitude.{\i0}
Dialogue: 0,0:06:49.35,0:06:52.22,Default,,0000,0000,0000,,The light we see is a gift from heaven
Dialogue: 0,0:06:53.42,0:06:58.57,Default,,0000,0000,0000,,As he sings a hymn to his creator, Saint Francis seems to be imitating a bird,
Dialogue: 0,0:06:58.57,0:07:01.77,Default,,0000,0000,0000,,and his body echoes the curve of the laurel bush
Dialogue: 0,0:07:04.02,0:07:06.45,Default,,0000,0000,0000,,But this isn’t the garden of Eden either
Dialogue: 0,0:07:06.45,0:07:10.85,Default,,0000,0000,0000,,- labour is man’s return for nature’s bounty, as he turns:
Dialogue: 0,0:07:10.85,0:07:13.67,Default,,0000,0000,0000,,• a cave into a home,
Dialogue: 0,0:07:13.67,0:07:15.67,Default,,0000,0000,0000,,• a vine into a pergola,
Dialogue: 0,0:07:17.57,0:07:20.27,Default,,0000,0000,0000,,• a fold in the ground into a garden,
Dialogue: 0,0:07:20.82,0:07:22.92,Default,,0000,0000,0000,,• and a spring into a conduit
Dialogue: 0,0:07:25.25,0:07:29.07,Default,,0000,0000,0000,,If we cannot imitate Christ’s *sacrifice *on the cross,
Dialogue: 0,0:07:29.07,0:07:34.17,Default,,0000,0000,0000,,Bellini suggests a life of giving and of prayer *as a modest alternative.*
Dialogue: 0,0:07:34.17,0:07:36.17,Default,,0000,0000,0000,,Building a chapel,
Dialogue: 0,0:07:36.17,0:07:38.17,Default,,0000,0000,0000,,donating a religious painting
Dialogue: 0,0:07:38.17,0:07:41.07,Default,,0000,0000,0000,,- these are some of the good works the rich can perform
Dialogue: 0,0:07:41.07,0:07:43.07,Default,,0000,0000,0000,,in the hope of gaining paradise.
Dialogue: 0,0:07:43.37,0:07:47.87,Default,,0000,0000,0000,,At the time Bellini paints his picture, the Franciscans are setting up special loan agencies - the Monte di Pietà
Dialogue: 0,0:07:47.87,0:07:49.87,Default,,0000,0000,0000,,- to help the poorest of the poor in Italy.
Dialogue: 0,0:07:50.57,0:07:54.82,Default,,0000,0000,0000,,The poverty of Saint Francis has become a *giving-based economic system, *
Dialogue: 0,0:07:54.82,0:07:56.82,Default,,0000,0000,0000,,and is steadily making the Franciscans more powerful.
Dialogue: 0,0:07:57.80,0:08:00.85,Default,,0000,0000,0000,,They control hundreds of buildings in town centres,
Dialogue: 0,0:08:00.85,0:08:03.57,Default,,0000,0000,0000,,and have already given the Church two popes.
Dialogue: 0,0:08:04.25,0:08:08.37,Default,,0000,0000,0000,,So - is Bellini simply their mouthpiece ?
Dialogue: 0,0:08:09.70,0:08:11.86,Default,,0000,0000,0000,,Part 3. The religion of nature
Dialogue: 0,0:08:13.86,0:08:16.92,Default,,0000,0000,0000,,The hallowed landscape is not Bellini’s invention.
Dialogue: 0,0:08:17.92,0:08:20.00,Default,,0000,0000,0000,,Traditionally, it is a stylised background
Dialogue: 0,0:08:20.00,0:08:22.00,Default,,0000,0000,0000,,which indicates that the saint portrayed
Dialogue: 0,0:08:22.00,0:08:25.35,Default,,0000,0000,0000,,is in a *different world from the viewer.*
Dialogue: 0,0:08:25.87,0:08:29.77,Default,,0000,0000,0000,,But interest in landscape as such becomes more marked in Italian and French art
Dialogue: 0,0:08:29.77,0:08:31.77,Default,,0000,0000,0000,,from the start of the XVth century.
Dialogue: 0,0:08:33.50,0:08:35.87,Default,,0000,0000,0000,,This pictorial version of the story of Saint Anthony is an example:
Dialogue: 0,0:08:37.30,0:08:42.27,Default,,0000,0000,0000,,While most of the episodes take place beneath a gilded sky or in a church,
Dialogue: 0,0:08:42.37,0:08:46.15,Default,,0000,0000,0000,,those where the saint is tempted in the desert
Dialogue: 0,0:08:46.15,0:08:48.82,Default,,0000,0000,0000,,are set in a real landscape.
Dialogue: 0,0:08:48.82,0:08:50.82,Default,,0000,0000,0000,,As in the desert scene with Saint Francis:
Dialogue: 0,0:08:50.82,0:08:52.82,Default,,0000,0000,0000,,There is a broken sky
Dialogue: 0,0:08:52.82,0:08:54.82,Default,,0000,0000,0000,,- blue, yellow and white
Dialogue: 0,0:08:55.62,0:08:57.10,Default,,0000,0000,0000,,and the high viewpoint allows us
Dialogue: 0,0:08:57.10,0:09:00.15,Default,,0000,0000,0000,,to explore the setting in depth.
Dialogue: 0,0:09:03.02,0:09:06.45,Default,,0000,0000,0000,,Contemporary Flemish painters
Dialogue: 0,0:09:06.45,0:09:09.32,Default,,0000,0000,0000,,take this mixture of the sacred and profane even further:
Dialogue: 0,0:09:09.32,0:09:13.57,Default,,0000,0000,0000,,Van Eyck puts the Virgin face-to-face with Chancellor Rolin,
Dialogue: 0,0:09:13.57,0:09:15.77,Default,,0000,0000,0000,,who has commissioned the picture.
Dialogue: 0,0:09:15.77,0:09:18.87,Default,,0000,0000,0000,,The landscape in the background
Dialogue: 0,0:09:18.87,0:09:22.32,Default,,0000,0000,0000,,is an idealised image of his territories, which he can then compare
Dialogue: 0,0:09:22.32,0:09:23.67,Default,,0000,0000,0000,,... to an ideal city…
Dialogue: 0,0:09:23.67,0:09:25.67,Default,,0000,0000,0000,,…with the Virgin as its queen.
Dialogue: 0,0:09:27.40,0:09:30.57,Default,,0000,0000,0000,,In spite of the crenellated wall which separates her from the secular world,
Dialogue: 0,0:09:30.57,0:09:33.67,Default,,0000,0000,0000,,she is almost *being used* to convey a political message!
Dialogue: 0,0:09:34.35,0:09:38.57,Default,,0000,0000,0000,,There is, therefore, a risk that landscape may destroy the *necessary distance *
Dialogue: 0,0:09:38.57,0:09:41.45,Default,,0000,0000,0000,,between the profane and the sacred.
Dialogue: 0,0:09:41.45,0:09:43.07,Default,,0000,0000,0000,,In his Saint Francis,
Dialogue: 0,0:09:43.07,0:09:45.90,Default,,0000,0000,0000,,Bellini deploys three separate solutions to the problem.
Dialogue: 0,0:09:48.00,0:09:49.15,Default,,0000,0000,0000,,First solution:
Dialogue: 0,0:09:49.15,0:09:52.40,Default,,0000,0000,0000,,he marks off areas where the supernatural holds sway.
Dialogue: 0,0:09:52.40,0:09:56.05,Default,,0000,0000,0000,,Bellini sometimes uses paved spaces with sturdy balustrades,
Dialogue: 0,0:09:57.50,0:10:00.17,Default,,0000,0000,0000,,... where certain events take place unseen by people in the background,
Dialogue: 0,0:10:00.17,0:10:02.17,Default,,0000,0000,0000,,... [to be translated]
Dialogue: 0,0:10:04.00,0:10:06.22,Default,,0000,0000,0000,,Compare this *transfiguration scene, *
Dialogue: 0,0:10:06.22,0:10:08.47,Default,,0000,0000,0000,,where a ravine protected by a frail wooden barrier
Dialogue: 0,0:10:08.47,0:10:10.47,Default,,0000,0000,0000,,separates us from the mountain where the miracle is taking place.
Dialogue: 0,0:10:12.90,0:10:18.57,Default,,0000,0000,0000,,Here, variations in the terrain serve this separating function.
Dialogue: 0,0:10:20.47,0:10:23.80,Default,,0000,0000,0000,,Variety and precision of detail also make us forget
Dialogue: 0,0:10:23.80,0:10:25.80,Default,,0000,0000,0000,,that the whole scene is {\i1}imagined:{\i0}
Dialogue: 0,0:10:27.35,0:10:30.40,Default,,0000,0000,0000,,we feel that we are really seeing the beauties of nature,
Dialogue: 0,0:10:32.95,0:10:35.72,Default,,0000,0000,0000,,a nature so delightful that it seems good
Dialogue: 0,0:10:35.72,0:10:38.47,Default,,0000,0000,0000,,- and so *good *that we feel it was created *for us *
Dialogue: 0,0:10:38.47,0:10:39.82,Default,,0000,0000,0000,,by a benevolent divinity.
Dialogue: 0,0:10:41.82,0:10:46.20,Default,,0000,0000,0000,,Second solution: signal the {\i1}sanctity{\i0} of the central figure.
Dialogue: 0,0:10:46.20,0:10:49.75,Default,,0000,0000,0000,,Instead of using the conventional halo …
Dialogue: 0,0:10:49.75,0:10:52.87,Default,,0000,0000,0000,,Bellini invests the saint’s posture with mystery.
Dialogue: 0,0:10:54.20,0:10:59.25,Default,,0000,0000,0000,,That mystery lies in the contrast between an unusually powerful and clearly defined *physical presence*
Dialogue: 0,0:10:59.25,0:11:02.10,Default,,0000,0000,0000,,....which stands out against the pale stone behind it...
Dialogue: 0,0:11:02.10,0:11:05.02,Default,,0000,0000,0000,,… and the outward signs of *spiritual ecstasy:*
Dialogue: 0,0:11:05.02,0:11:09.37,Default,,0000,0000,0000,,he is directly *in front of us, *and yet his attention is *elsewhere. *
Dialogue: 0,0:11:11.87,0:11:14.62,Default,,0000,0000,0000,,Third solution: light.
Dialogue: 0,0:11:14.62,0:11:18.00,Default,,0000,0000,0000,,Bellini applies very thin layers of paint on top of one another,
Dialogue: 0,0:11:18.00,0:11:20.00,Default,,0000,0000,0000,,which creates transparent effects…
Dialogue: 0,0:11:25.37,0:11:29.02,Default,,0000,0000,0000,,but also makes certain surfaces, like the stone, seem luminous:
Dialogue: 0,0:11:29.02,0:11:31.02,Default,,0000,0000,0000,,the underlying bright colours
Dialogue: 0,0:11:31.02,0:11:34.65,Default,,0000,0000,0000,,light them from within.
Dialogue: 0,0:11:36.70,0:11:39.02,Default,,0000,0000,0000,,Bellini’s Saint Francis thus seems
Dialogue: 0,0:11:39.02,0:11:41.22,Default,,0000,0000,0000,,a subtle forerunner of what we now call “fantasy” in literature and film:
Dialogue: 0,0:11:42.85,0:11:47.25,Default,,0000,0000,0000,,in an ordinary natural setting, something in a person’s behaviour,
Dialogue: 0,0:11:47.25,0:11:49.75,Default,,0000,0000,0000,,a brightness in the air
Dialogue: 0,0:11:49.75,0:11:51.42,Default,,0000,0000,0000,,and unexpected details
Dialogue: 0,0:11:51.42,0:11:53.42,Default,,0000,0000,0000,,all suggest the presence of the supernatural.
Dialogue: 0,0:11:59.18,0:12:01.18,Default,,0000,0000,0000,,Next episode: *the Young Knight* by Vittore Carpaccio
Dialogue: 0,0:12:01.18,0:12:04.50,Default,,0000,0000,0000,,{\i1}Youth'promises{\i0}
Dialogue: 0,0:12:04.50,0:12:10.00,Default,,0000,0000,0000,,*Find more information on: www.canal-educatif.fr*
Dialogue: 0,0:12:11.71,0:12:14.13,Default,,0000,0000,0000,,Written & directed by:
Dialogue: 0,0:12:14.13,0:12:16.61,Default,,0000,0000,0000,,Produced by:
Dialogue: 0,0:12:16.61,0:12:18.96,Default,,0000,0000,0000,,Scientific advisor:
Dialogue: 0,0:12:18.96,0:12:21.36,Default,,0000,0000,0000,,This film was made possible thanks to the support of sponsors (including you?) and of the French Ministry of Culture
Dialogue: 0,0:12:21.36,0:12:23.76,Default,,0000,0000,0000,,Voiceover:
Dialogue: 0,0:12:23.76,0:12:26.16,Default,,0000,0000,0000,,Editing and motion effects:
Dialogue: 0,0:12:26.16,0:12:28.56,Default,,0000,0000,0000,,Postproduction and sound recording:
Dialogue: 0,0:12:28.56,0:12:30.96,Default,,0000,0000,0000,,Musical selection:
Dialogue: 0,0:12:30.96,0:12:33.36,Default,,0000,0000,0000,,Musics
Dialogue: 0,0:12:33.36,0:12:35.76,Default,,0000,0000,0000,,Photographic credits
Dialogue: 0,0:12:35.76,0:12:38.16,Default,,0000,0000,0000,,Special thanks - English translation: Vincent Nash
Dialogue: 0,0:12:38.16,0:12:38.16,Default,,0000,0000,0000,,A CED production