[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.78,0:00:02.69,Default,,0000,0000,0000,,Imagine you're in Rome,
Dialogue: 0,0:00:02.71,0:00:05.91,Default,,0000,0000,0000,,and you've made your way\Nto the Vatican Museums.
Dialogue: 0,0:00:06.30,0:00:09.54,Default,,0000,0000,0000,,And you've been shuffling\Ndown long corridors,
Dialogue: 0,0:00:09.57,0:00:14.01,Default,,0000,0000,0000,,past statues, frescoes,\Nlots and lots of stuff.
Dialogue: 0,0:00:14.38,0:00:16.72,Default,,0000,0000,0000,,You're heading towards the Sistine Chapel.
Dialogue: 0,0:00:16.75,0:00:22.12,Default,,0000,0000,0000,,At last -- a long corridor,\Na stair and a door.
Dialogue: 0,0:00:22.15,0:00:25.15,Default,,0000,0000,0000,,You're at the threshold\Nof the Sistine Chapel.
Dialogue: 0,0:00:25.17,0:00:26.94,Default,,0000,0000,0000,,So what are you expecting?
Dialogue: 0,0:00:26.96,0:00:29.48,Default,,0000,0000,0000,,Soaring domes? Choirs of angels?
Dialogue: 0,0:00:29.51,0:00:31.66,Default,,0000,0000,0000,,We don't really have any of that there.
Dialogue: 0,0:00:32.11,0:00:35.100,Default,,0000,0000,0000,,Instead, you may ask yourself,\Nwhat do we have?
Dialogue: 0,0:00:36.02,0:00:38.65,Default,,0000,0000,0000,,Well, curtains up on the Sistine Chapel.
Dialogue: 0,0:00:38.67,0:00:41.62,Default,,0000,0000,0000,,And I mean literally, you're surrounded\Nby painted curtains,
Dialogue: 0,0:00:41.65,0:00:44.06,Default,,0000,0000,0000,,the original decoration of this chapel.
Dialogue: 0,0:00:44.09,0:00:48.63,Default,,0000,0000,0000,,Churches used tapestries not just\Nto keep out cold during long masses,
Dialogue: 0,0:00:48.66,0:00:52.11,Default,,0000,0000,0000,,but as a way to represent\Nthe great theater of life.
Dialogue: 0,0:00:52.63,0:00:57.76,Default,,0000,0000,0000,,The human drama in which each one of us\Nplays a part is a great story,
Dialogue: 0,0:00:57.79,0:01:00.60,Default,,0000,0000,0000,,a story that encompasses the whole world
Dialogue: 0,0:01:00.62,0:01:03.68,Default,,0000,0000,0000,,and that came to unfold\Nin the three stages
Dialogue: 0,0:01:03.71,0:01:05.95,Default,,0000,0000,0000,,of the painting in the Sistine Chapel.
Dialogue: 0,0:01:06.38,0:01:09.74,Default,,0000,0000,0000,,Now, this building started out\Nas a space for a small group
Dialogue: 0,0:01:09.77,0:01:12.11,Default,,0000,0000,0000,,of wealthy, educated Christian priests.
Dialogue: 0,0:01:12.53,0:01:15.20,Default,,0000,0000,0000,,They prayed there.\NThey elected their pope there.
Dialogue: 0,0:01:15.23,0:01:16.38,Default,,0000,0000,0000,,Five hundred years ago,
Dialogue: 0,0:01:16.40,0:01:18.91,Default,,0000,0000,0000,,it was the ultimate\Necclesiastical man cave.
Dialogue: 0,0:01:19.55,0:01:25.42,Default,,0000,0000,0000,,So, you may ask, how can it be\Nthat today it attracts and delights
Dialogue: 0,0:01:25.44,0:01:28.11,Default,,0000,0000,0000,,five million people a year,
Dialogue: 0,0:01:28.13,0:01:30.37,Default,,0000,0000,0000,,from all different backgrounds?
Dialogue: 0,0:01:30.40,0:01:34.93,Default,,0000,0000,0000,,Because in that compressed space,\Nthere was a creative explosion,
Dialogue: 0,0:01:34.96,0:01:39.79,Default,,0000,0000,0000,,ignited by the electric excitement\Nof new geopolitical frontiers,
Dialogue: 0,0:01:39.81,0:01:44.11,Default,,0000,0000,0000,,which set on fire the ancient\Nmissionary tradition of the Church
Dialogue: 0,0:01:44.13,0:01:47.41,Default,,0000,0000,0000,,and produced one of the greatest\Nworks of art in history.
Dialogue: 0,0:01:48.06,0:01:52.58,Default,,0000,0000,0000,,Now, this development took place\Nas a great evolution,
Dialogue: 0,0:01:52.60,0:01:55.34,Default,,0000,0000,0000,,moving from the beginning of a few elite,
Dialogue: 0,0:01:55.36,0:01:58.79,Default,,0000,0000,0000,,and eventually able to speak\Nto audiences of people
Dialogue: 0,0:01:58.82,0:02:00.84,Default,,0000,0000,0000,,that come from all over the world.
Dialogue: 0,0:02:01.22,0:02:03.98,Default,,0000,0000,0000,,This evolution took place in three stages,
Dialogue: 0,0:02:04.00,0:02:07.11,Default,,0000,0000,0000,,each one linked\Nto a historical circumstance.
Dialogue: 0,0:02:07.14,0:02:09.17,Default,,0000,0000,0000,,The first one was rather limited in scope.
Dialogue: 0,0:02:09.19,0:02:11.72,Default,,0000,0000,0000,,It reflected the rather\Nparochial perspective.
Dialogue: 0,0:02:12.10,0:02:16.35,Default,,0000,0000,0000,,The second one took place after\Nworldviews were dramatically altered
Dialogue: 0,0:02:16.37,0:02:19.06,Default,,0000,0000,0000,,after Columbus's historical voyage;
Dialogue: 0,0:02:19.09,0:02:20.50,Default,,0000,0000,0000,,and the third,
Dialogue: 0,0:02:20.52,0:02:23.50,Default,,0000,0000,0000,,when the Age of Discovery\Nwas well under way
Dialogue: 0,0:02:23.52,0:02:26.03,Default,,0000,0000,0000,,and the Church rose to the challenge
Dialogue: 0,0:02:26.05,0:02:27.46,Default,,0000,0000,0000,,of going global.
Dialogue: 0,0:02:28.33,0:02:32.34,Default,,0000,0000,0000,,The original decoration of this church\Nreflected a smaller world.
Dialogue: 0,0:02:32.37,0:02:33.68,Default,,0000,0000,0000,,There were busy scenes
Dialogue: 0,0:02:33.70,0:02:37.56,Default,,0000,0000,0000,,that told the stories of the lives\Nof Jesus and Moses,
Dialogue: 0,0:02:37.58,0:02:41.62,Default,,0000,0000,0000,,reflecting the development\Nof the Jewish and Christian people.
Dialogue: 0,0:02:41.65,0:02:43.98,Default,,0000,0000,0000,,The man who commissioned this,\NPope Sixtus IV,
Dialogue: 0,0:02:44.01,0:02:47.33,Default,,0000,0000,0000,,assembled a dream team of Florentine art,
Dialogue: 0,0:02:47.35,0:02:50.25,Default,,0000,0000,0000,,including men like Sandro Botticelli
Dialogue: 0,0:02:50.27,0:02:53.85,Default,,0000,0000,0000,,and the man who would become\NMichelangelo's future painting teacher,
Dialogue: 0,0:02:53.87,0:02:55.41,Default,,0000,0000,0000,,Ghirlandaio.
Dialogue: 0,0:02:55.44,0:03:00.78,Default,,0000,0000,0000,,These men, they blanketed the walls\Nwith a frieze of pure color,
Dialogue: 0,0:03:00.80,0:03:04.11,Default,,0000,0000,0000,,and in these stories you'll notice\Nfamiliar landscapes,
Dialogue: 0,0:03:04.13,0:03:07.100,Default,,0000,0000,0000,,the artists using Roman monuments\Nor a Tuscan landscape
Dialogue: 0,0:03:08.02,0:03:11.45,Default,,0000,0000,0000,,to render a faraway story,\Nsomething much more familiar.
Dialogue: 0,0:03:11.47,0:03:15.12,Default,,0000,0000,0000,,With the addition of images\Nof the Pope's friends and family,
Dialogue: 0,0:03:15.14,0:03:17.97,Default,,0000,0000,0000,,this was a perfect decoration\Nfor a small court
Dialogue: 0,0:03:17.100,0:03:19.77,Default,,0000,0000,0000,,limited to the European continent.
Dialogue: 0,0:03:20.24,0:03:25.11,Default,,0000,0000,0000,,But in 1492, the New World was discovered,
Dialogue: 0,0:03:25.14,0:03:27.08,Default,,0000,0000,0000,,horizons were expanding,
Dialogue: 0,0:03:27.11,0:03:33.46,Default,,0000,0000,0000,,and this little 133 by 46-foot\Nmicrocosm had to expand as well.
Dialogue: 0,0:03:33.49,0:03:34.81,Default,,0000,0000,0000,,And it did,
Dialogue: 0,0:03:34.83,0:03:36.78,Default,,0000,0000,0000,,thanks to a creative genius,
Dialogue: 0,0:03:36.81,0:03:39.62,Default,,0000,0000,0000,,a visionary and an awesome story.
Dialogue: 0,0:03:40.21,0:03:42.76,Default,,0000,0000,0000,,Now, the creative genius\Nwas Michelangelo Buonarroti,
Dialogue: 0,0:03:42.78,0:03:47.17,Default,,0000,0000,0000,,33 years old when he was tapped\Nto decorate 12,000 square feet of ceiling,
Dialogue: 0,0:03:47.20,0:03:49.08,Default,,0000,0000,0000,,and the deck was stacked against him --
Dialogue: 0,0:03:49.10,0:03:51.100,Default,,0000,0000,0000,,he had trained in painting\Nbut had left to pursue sculpture.
Dialogue: 0,0:03:52.02,0:03:55.48,Default,,0000,0000,0000,,There were angry patrons in Florence\Nbecause he had left a stack
Dialogue: 0,0:03:55.50,0:03:57.18,Default,,0000,0000,0000,,of incomplete commissions,
Dialogue: 0,0:03:57.20,0:04:00.86,Default,,0000,0000,0000,,lured to Rome by the prospect\Nof a great sculptural project,
Dialogue: 0,0:04:00.89,0:04:03.47,Default,,0000,0000,0000,,and that project had fallen through.
Dialogue: 0,0:04:03.49,0:04:06.62,Default,,0000,0000,0000,,And he had been left with a commission\Nto paint 12 apostles
Dialogue: 0,0:04:06.64,0:04:09.57,Default,,0000,0000,0000,,against a decorative background\Nin the Sistine Chapel ceiling,
Dialogue: 0,0:04:09.59,0:04:13.13,Default,,0000,0000,0000,,which would look like\Nevery other ceiling in Italy.
Dialogue: 0,0:04:13.62,0:04:15.45,Default,,0000,0000,0000,,But genius rose to the challenge.
Dialogue: 0,0:04:15.47,0:04:18.97,Default,,0000,0000,0000,,In an age when a man dared\Nto sail across the Atlantic Ocean,
Dialogue: 0,0:04:18.99,0:04:22.52,Default,,0000,0000,0000,,Michelangelo dared to chart\Nnew artistic waters.
Dialogue: 0,0:04:23.03,0:04:25.26,Default,,0000,0000,0000,,He, too, would tell a story --
Dialogue: 0,0:04:25.29,0:04:28.82,Default,,0000,0000,0000,,no Apostles -- but a story\Nof great beginnings,
Dialogue: 0,0:04:28.84,0:04:30.52,Default,,0000,0000,0000,,the story of Genesis.
Dialogue: 0,0:04:31.09,0:04:34.02,Default,,0000,0000,0000,,Not really an easy sell,\Nstories on a ceiling.
Dialogue: 0,0:04:34.04,0:04:38.85,Default,,0000,0000,0000,,How would you be able to read\Na busy scene from 62 feet below?
Dialogue: 0,0:04:38.87,0:04:41.73,Default,,0000,0000,0000,,The painting technique that had been\Nhanded on for 200 years
Dialogue: 0,0:04:41.75,0:04:45.07,Default,,0000,0000,0000,,in Florentine studios was not equipped\Nfor this kind of a narrative.
Dialogue: 0,0:04:45.69,0:04:48.66,Default,,0000,0000,0000,,But Michelangelo wasn't really a painter,
Dialogue: 0,0:04:48.69,0:04:50.97,Default,,0000,0000,0000,,and so he played to his strengths.
Dialogue: 0,0:04:50.99,0:04:54.48,Default,,0000,0000,0000,,Instead of being accustomed\Nto filling space with busyness,
Dialogue: 0,0:04:54.50,0:04:58.30,Default,,0000,0000,0000,,he took a hammer and chisel\Nand hacked away at a piece of marble
Dialogue: 0,0:04:58.32,0:05:00.75,Default,,0000,0000,0000,,to reveal the figure within.
Dialogue: 0,0:05:00.78,0:05:02.94,Default,,0000,0000,0000,,Michelangelo was an essentialist;
Dialogue: 0,0:05:02.97,0:05:07.36,Default,,0000,0000,0000,,he would tell his story\Nin massive, dynamic bodies.
Dialogue: 0,0:05:07.38,0:05:12.15,Default,,0000,0000,0000,,This plan was embraced\Nby the larger-than-life Pope Julius II,
Dialogue: 0,0:05:12.17,0:05:15.79,Default,,0000,0000,0000,,a man who was unafraid\Nof Michelangelo's brazen genius.
Dialogue: 0,0:05:15.82,0:05:17.70,Default,,0000,0000,0000,,He was nephew to Pope Sixtus IV,
Dialogue: 0,0:05:17.72,0:05:21.83,Default,,0000,0000,0000,,and he had been steeped in art\Nfor 30 years and he knew its power.
Dialogue: 0,0:05:21.85,0:05:24.92,Default,,0000,0000,0000,,And history has handed down the moniker\Nof the Warrior Pope,
Dialogue: 0,0:05:24.94,0:05:28.73,Default,,0000,0000,0000,,but this man's legacy to the Vatican --\Nit wasn't fortresses and artillery,
Dialogue: 0,0:05:28.75,0:05:30.07,Default,,0000,0000,0000,,it was art.
Dialogue: 0,0:05:30.09,0:05:32.67,Default,,0000,0000,0000,,He left us the Raphael Rooms,\Nthe Sistine Chapel.
Dialogue: 0,0:05:32.70,0:05:34.34,Default,,0000,0000,0000,,He left St. Peter's Basilica
Dialogue: 0,0:05:34.37,0:05:40.07,Default,,0000,0000,0000,,as well as an extraordinary collection\Nof Greco-Roman sculptures --
Dialogue: 0,0:05:40.09,0:05:44.23,Default,,0000,0000,0000,,decidedly un-Christian works\Nthat would become the seedbed
Dialogue: 0,0:05:44.26,0:05:48.14,Default,,0000,0000,0000,,of the world's first modern museum,\Nthe Vatican Museums.
Dialogue: 0,0:05:48.85,0:05:50.27,Default,,0000,0000,0000,,Julius was a man
Dialogue: 0,0:05:50.30,0:05:54.08,Default,,0000,0000,0000,,who envisioned a Vatican\Nthat would be eternally relevant
Dialogue: 0,0:05:54.10,0:05:56.19,Default,,0000,0000,0000,,through grandeur and through beauty,
Dialogue: 0,0:05:56.22,0:05:57.59,Default,,0000,0000,0000,,and he was right.
Dialogue: 0,0:05:57.61,0:06:02.60,Default,,0000,0000,0000,,The encounter between these two giants,\NMichelangelo and Julius II,
Dialogue: 0,0:06:02.62,0:06:05.06,Default,,0000,0000,0000,,that's what gave us the Sistine Chapel.
Dialogue: 0,0:06:05.64,0:06:08.43,Default,,0000,0000,0000,,Michelangelo was so committed\Nto this project,
Dialogue: 0,0:06:08.45,0:06:12.84,Default,,0000,0000,0000,,that he succeeded in getting the job done\Nin three and a half years,
Dialogue: 0,0:06:12.86,0:06:17.13,Default,,0000,0000,0000,,using a skeleton crew and spending\Nmost of the time, hours on end,
Dialogue: 0,0:06:17.15,0:06:20.84,Default,,0000,0000,0000,,reaching up above his head\Nto paint the stories on the ceiling.
Dialogue: 0,0:06:21.42,0:06:23.47,Default,,0000,0000,0000,,So let's look at this ceiling
Dialogue: 0,0:06:23.50,0:06:26.33,Default,,0000,0000,0000,,and see storytelling gone global.
Dialogue: 0,0:06:26.35,0:06:30.76,Default,,0000,0000,0000,,No more familiar artistic references\Nto the world around you.
Dialogue: 0,0:06:30.79,0:06:35.43,Default,,0000,0000,0000,,There's just space\Nand structure and energy;
Dialogue: 0,0:06:35.46,0:06:40.05,Default,,0000,0000,0000,,a monumental painted framework\Nwhich opens onto nine panels,
Dialogue: 0,0:06:40.08,0:06:44.01,Default,,0000,0000,0000,,more driven by sculptural form\Nthan painterly color.
Dialogue: 0,0:06:44.03,0:06:47.81,Default,,0000,0000,0000,,And we stand in the far end\Nby the entrance,
Dialogue: 0,0:06:47.84,0:06:51.94,Default,,0000,0000,0000,,far from the altar and from the gated\Nenclosure intended for the clergy
Dialogue: 0,0:06:51.96,0:06:57.21,Default,,0000,0000,0000,,and we peer into the distance,\Nlooking for a beginning.
Dialogue: 0,0:06:57.24,0:07:01.25,Default,,0000,0000,0000,,And whether in scientific inquiry\Nor in biblical tradition,
Dialogue: 0,0:07:01.28,0:07:04.60,Default,,0000,0000,0000,,we think in terms of a primal spark.
Dialogue: 0,0:07:04.62,0:07:06.75,Default,,0000,0000,0000,,Michelangelo gave us an initial energy
Dialogue: 0,0:07:06.78,0:07:09.52,Default,,0000,0000,0000,,when he gave us the separation\Nof light and dark,
Dialogue: 0,0:07:09.54,0:07:12.93,Default,,0000,0000,0000,,a churning figure blurry in the distance,
Dialogue: 0,0:07:12.96,0:07:15.44,Default,,0000,0000,0000,,compressed into a tight space.
Dialogue: 0,0:07:15.46,0:07:17.79,Default,,0000,0000,0000,,The next figure looms larger,
Dialogue: 0,0:07:17.82,0:07:21.24,Default,,0000,0000,0000,,and you see a figure hurtling\Nfrom one side to the next.
Dialogue: 0,0:07:21.27,0:07:26.25,Default,,0000,0000,0000,,He leaves in his wake\Nthe sun, the moon, vegetation.
Dialogue: 0,0:07:26.28,0:07:30.28,Default,,0000,0000,0000,,Michelangelo didn't focus\Non the stuff that was being created,
Dialogue: 0,0:07:30.31,0:07:32.35,Default,,0000,0000,0000,,unlike all the other artists.
Dialogue: 0,0:07:32.38,0:07:35.72,Default,,0000,0000,0000,,He focused on the act of creation.
Dialogue: 0,0:07:35.74,0:07:40.12,Default,,0000,0000,0000,,And then the movement stops,\Nlike a caesura in poetry
Dialogue: 0,0:07:40.14,0:07:41.39,Default,,0000,0000,0000,,and the creator hovers.
Dialogue: 0,0:07:41.42,0:07:42.70,Default,,0000,0000,0000,,So what's he doing?
Dialogue: 0,0:07:42.72,0:07:45.58,Default,,0000,0000,0000,,Is he creating land? Is he creating sea?
Dialogue: 0,0:07:45.60,0:07:50.29,Default,,0000,0000,0000,,Or is he looking back over his handiwork,\Nthe universe and his treasures,
Dialogue: 0,0:07:50.31,0:07:52.04,Default,,0000,0000,0000,,just like Michelangelo must have,
Dialogue: 0,0:07:52.07,0:07:54.67,Default,,0000,0000,0000,,looking back over his work in the ceiling
Dialogue: 0,0:07:54.69,0:07:57.48,Default,,0000,0000,0000,,and proclaiming, "It is good."
Dialogue: 0,0:07:58.39,0:08:00.49,Default,,0000,0000,0000,,So now the scene is set,
Dialogue: 0,0:08:00.52,0:08:04.20,Default,,0000,0000,0000,,and you get to the culmination\Nof creation, which is man.
Dialogue: 0,0:08:04.22,0:08:08.55,Default,,0000,0000,0000,,Adam leaps to the eye, a light figure\Nagainst a dark background.
Dialogue: 0,0:08:08.57,0:08:10.33,Default,,0000,0000,0000,,But looking closer,
Dialogue: 0,0:08:10.36,0:08:13.01,Default,,0000,0000,0000,,that leg is pretty languid on the ground,
Dialogue: 0,0:08:13.03,0:08:15.32,Default,,0000,0000,0000,,the arm is heavy on the knee.
Dialogue: 0,0:08:15.34,0:08:19.02,Default,,0000,0000,0000,,Adam lacks that interior spark
Dialogue: 0,0:08:19.05,0:08:21.33,Default,,0000,0000,0000,,that will impel him to greatness.
Dialogue: 0,0:08:21.36,0:08:26.12,Default,,0000,0000,0000,,That spark is about to be conferred\Nby the creator in that finger,
Dialogue: 0,0:08:26.15,0:08:28.82,Default,,0000,0000,0000,,which is one millimeter\Nfrom the hand of Adam.
Dialogue: 0,0:08:28.84,0:08:30.79,Default,,0000,0000,0000,,It puts us at the edge of our seats,
Dialogue: 0,0:08:30.81,0:08:33.83,Default,,0000,0000,0000,,because we're one moment\Nfrom that contact,
Dialogue: 0,0:08:33.85,0:08:36.75,Default,,0000,0000,0000,,through which that man\Nwill discover his purpose,
Dialogue: 0,0:08:36.78,0:08:39.76,Default,,0000,0000,0000,,leap up and take his place\Nat the pinnacle of creation.
Dialogue: 0,0:08:39.78,0:08:43.04,Default,,0000,0000,0000,,And then Michelangelo threw a curveball.
Dialogue: 0,0:08:43.07,0:08:44.90,Default,,0000,0000,0000,,Who is in that other arm?
Dialogue: 0,0:08:45.53,0:08:47.23,Default,,0000,0000,0000,,Eve, first woman.
Dialogue: 0,0:08:47.25,0:08:50.16,Default,,0000,0000,0000,,No, she's not an afterthought.\NShe's part of the plan.
Dialogue: 0,0:08:50.18,0:08:52.66,Default,,0000,0000,0000,,She's always been in his mind.
Dialogue: 0,0:08:52.68,0:08:56.89,Default,,0000,0000,0000,,Look at her, so intimate with God\Nthat her hand curls around his arm.
Dialogue: 0,0:08:57.33,0:09:02.74,Default,,0000,0000,0000,,And for me, an American art historian\Nfrom the 21st century,
Dialogue: 0,0:09:02.76,0:09:05.61,Default,,0000,0000,0000,,this was the moment\Nthat the painting spoke to me.
Dialogue: 0,0:09:05.64,0:09:08.98,Default,,0000,0000,0000,,Because I realized that this\Nrepresentation of the human drama
Dialogue: 0,0:09:09.01,0:09:11.92,Default,,0000,0000,0000,,was always about men and women --
Dialogue: 0,0:09:11.95,0:09:15.74,Default,,0000,0000,0000,,so much so, that the dead center,\Nthe heart of the ceiling,
Dialogue: 0,0:09:15.76,0:09:18.17,Default,,0000,0000,0000,,is the creation of woman, not Adam.
Dialogue: 0,0:09:18.20,0:09:22.12,Default,,0000,0000,0000,,And the fact is, that when you see them\Ntogether in the Garden of Eden,
Dialogue: 0,0:09:22.15,0:09:23.68,Default,,0000,0000,0000,,they fall together
Dialogue: 0,0:09:23.71,0:09:28.10,Default,,0000,0000,0000,,and together their proud posture\Nturns into folded shame.
Dialogue: 0,0:09:28.65,0:09:31.32,Default,,0000,0000,0000,,You are at critical juncture\Nnow in the ceiling.
Dialogue: 0,0:09:31.34,0:09:34.42,Default,,0000,0000,0000,,You are exactly at the point\Nwhere you and I can go
Dialogue: 0,0:09:34.45,0:09:35.90,Default,,0000,0000,0000,,no further into the church.
Dialogue: 0,0:09:35.93,0:09:39.28,Default,,0000,0000,0000,,The gated enclosure keeps us\Nout of the inner sanctum,
Dialogue: 0,0:09:39.31,0:09:41.82,Default,,0000,0000,0000,,and we are cast out\Nmuch like Adam and Eve.
Dialogue: 0,0:09:41.84,0:09:43.60,Default,,0000,0000,0000,,The remaining scenes in the ceiling,
Dialogue: 0,0:09:43.62,0:09:46.47,Default,,0000,0000,0000,,they mirror the crowded chaos\Nof the world around us.
Dialogue: 0,0:09:46.49,0:09:48.72,Default,,0000,0000,0000,,You have Noah and his Ark and the flood.
Dialogue: 0,0:09:48.74,0:09:52.33,Default,,0000,0000,0000,,You have Noah. He's making a sacrifice\Nand a covenant with God.
Dialogue: 0,0:09:52.35,0:09:53.64,Default,,0000,0000,0000,,Maybe he's the savior.
Dialogue: 0,0:09:54.03,0:09:57.76,Default,,0000,0000,0000,,Oh, but no, Noah is the one\Nwho grew grapes, invented wine,
Dialogue: 0,0:09:57.79,0:09:59.94,Default,,0000,0000,0000,,got drunk and passed out\Nnaked in his barn.
Dialogue: 0,0:10:00.38,0:10:02.76,Default,,0000,0000,0000,,It is a curious way to design the ceiling,
Dialogue: 0,0:10:02.78,0:10:04.71,Default,,0000,0000,0000,,now starting out with God creating life,
Dialogue: 0,0:10:04.73,0:10:07.23,Default,,0000,0000,0000,,ending up with some guy\Nblind drunk in a barn.
Dialogue: 0,0:10:07.25,0:10:09.71,Default,,0000,0000,0000,,And so, compared with Adam,
Dialogue: 0,0:10:09.73,0:10:12.25,Default,,0000,0000,0000,,you might think Michelangelo\Nis making fun of us.
Dialogue: 0,0:10:12.69,0:10:14.74,Default,,0000,0000,0000,,But he's about to dispel the gloom
Dialogue: 0,0:10:14.76,0:10:18.28,Default,,0000,0000,0000,,by using those bright colors\Nright underneath Noah:
Dialogue: 0,0:10:18.30,0:10:21.69,Default,,0000,0000,0000,,emerald, topaz, scarlet\Non the prophet Zechariah.
Dialogue: 0,0:10:21.72,0:10:24.70,Default,,0000,0000,0000,,Zechariah foresees a light\Ncoming from the east,
Dialogue: 0,0:10:24.72,0:10:28.41,Default,,0000,0000,0000,,and we are turned at this juncture\Nto a new destination,
Dialogue: 0,0:10:28.43,0:10:32.31,Default,,0000,0000,0000,,with sibyls and prophets\Nwho will lead us on a parade.
Dialogue: 0,0:10:32.33,0:10:35.63,Default,,0000,0000,0000,,You have the heroes and heroines\Nwho make safe the way,
Dialogue: 0,0:10:35.65,0:10:38.14,Default,,0000,0000,0000,,and we follow the mothers and fathers.
Dialogue: 0,0:10:38.16,0:10:42.24,Default,,0000,0000,0000,,They are the motors of this great\Nhuman engine, driving it forward.
Dialogue: 0,0:10:42.27,0:10:45.18,Default,,0000,0000,0000,,And now we're at the keystone\Nof the ceiling,
Dialogue: 0,0:10:45.20,0:10:47.38,Default,,0000,0000,0000,,the culmination of the whole thing,
Dialogue: 0,0:10:47.40,0:10:50.63,Default,,0000,0000,0000,,with a figure that looks like\Nhe's about to fall out of his space
Dialogue: 0,0:10:50.66,0:10:51.100,Default,,0000,0000,0000,,into our space,
Dialogue: 0,0:10:52.02,0:10:53.30,Default,,0000,0000,0000,,encroaching our space.
Dialogue: 0,0:10:53.33,0:10:55.87,Default,,0000,0000,0000,,This is the most important juncture.
Dialogue: 0,0:10:55.89,0:10:57.76,Default,,0000,0000,0000,,Past meets present.
Dialogue: 0,0:10:57.79,0:11:01.00,Default,,0000,0000,0000,,This figure, Jonah, who spent\Nthree days in the belly of the whale,
Dialogue: 0,0:11:01.03,0:11:03.88,Default,,0000,0000,0000,,for the Christians, is the symbol\Nof the renewal of humanity
Dialogue: 0,0:11:03.91,0:11:05.17,Default,,0000,0000,0000,,through Jesus' sacrifice,
Dialogue: 0,0:11:05.19,0:11:07.94,Default,,0000,0000,0000,,but for the multitudes\Nof visitors to that museum
Dialogue: 0,0:11:07.96,0:11:10.74,Default,,0000,0000,0000,,from all faiths who visit there every day,
Dialogue: 0,0:11:10.76,0:11:17.34,Default,,0000,0000,0000,,he is the moment the distant past\Nencounters and meets immediate reality.
Dialogue: 0,0:11:18.09,0:11:22.68,Default,,0000,0000,0000,,All of this brings us to the yawning\Narchway of the altar wall,
Dialogue: 0,0:11:22.71,0:11:25.47,Default,,0000,0000,0000,,where we see Michelangelo's Last Judgment,
Dialogue: 0,0:11:25.50,0:11:29.36,Default,,0000,0000,0000,,painted in 1534 after the world\Nhad changed again.
Dialogue: 0,0:11:29.38,0:11:31.41,Default,,0000,0000,0000,,The Reformation had splintered the Church,
Dialogue: 0,0:11:31.43,0:11:34.30,Default,,0000,0000,0000,,the Ottoman Empire had made\NIslam a household word
Dialogue: 0,0:11:34.32,0:11:37.82,Default,,0000,0000,0000,,and Magellan had found a route\Ninto the Pacific Ocean.
Dialogue: 0,0:11:37.84,0:11:42.50,Default,,0000,0000,0000,,How is a 59-year-old artist who has never\Nbeen any further than Venice
Dialogue: 0,0:11:42.53,0:11:44.72,Default,,0000,0000,0000,,going to speak to this new world?
Dialogue: 0,0:11:44.75,0:11:47.79,Default,,0000,0000,0000,,Michelangelo chose to paint destiny,
Dialogue: 0,0:11:47.81,0:11:49.63,Default,,0000,0000,0000,,that universal desire,
Dialogue: 0,0:11:49.66,0:11:51.28,Default,,0000,0000,0000,,common to all of us,
Dialogue: 0,0:11:51.30,0:11:54.47,Default,,0000,0000,0000,,to leave a legacy of excellence.
Dialogue: 0,0:11:54.50,0:11:57.43,Default,,0000,0000,0000,,Told in terms of the Christian vision\Nof the Last Judgment,
Dialogue: 0,0:11:57.45,0:11:58.76,Default,,0000,0000,0000,,the end of the world,
Dialogue: 0,0:11:58.79,0:12:01.92,Default,,0000,0000,0000,,Michelangelo gave you a series of figures
Dialogue: 0,0:12:01.95,0:12:05.10,Default,,0000,0000,0000,,who are wearing these\Nstrikingly beautiful bodies.
Dialogue: 0,0:12:05.13,0:12:07.85,Default,,0000,0000,0000,,They have no more covers,\Nno more portraits
Dialogue: 0,0:12:07.87,0:12:09.11,Default,,0000,0000,0000,,except for a couple.
Dialogue: 0,0:12:09.13,0:12:11.85,Default,,0000,0000,0000,,It's a composition only out of bodies,
Dialogue: 0,0:12:11.88,0:12:15.26,Default,,0000,0000,0000,,391, no two alike,
Dialogue: 0,0:12:15.29,0:12:17.74,Default,,0000,0000,0000,,unique like each and every one of us.
Dialogue: 0,0:12:17.76,0:12:21.51,Default,,0000,0000,0000,,They start in the lower corner,\Nbreaking away from the ground,
Dialogue: 0,0:12:21.53,0:12:24.25,Default,,0000,0000,0000,,struggling and trying to rise.
Dialogue: 0,0:12:24.28,0:12:26.73,Default,,0000,0000,0000,,Those who have risen\Nreach back to help others,
Dialogue: 0,0:12:26.76,0:12:28.59,Default,,0000,0000,0000,,and in one amazing vignette,
Dialogue: 0,0:12:28.62,0:12:31.71,Default,,0000,0000,0000,,you have a black man and a white man\Npulled up together
Dialogue: 0,0:12:31.73,0:12:34.46,Default,,0000,0000,0000,,in an incredible vision of human unity
Dialogue: 0,0:12:34.48,0:12:35.92,Default,,0000,0000,0000,,in this new world.
Dialogue: 0,0:12:35.94,0:12:39.45,Default,,0000,0000,0000,,The lion's share of the space\Ngoes to the winner's circle.
Dialogue: 0,0:12:39.48,0:12:44.31,Default,,0000,0000,0000,,There you find men and women\Ncompletely nude like athletes.
Dialogue: 0,0:12:44.34,0:12:46.65,Default,,0000,0000,0000,,They are the ones\Nwho have overcome adversity,
Dialogue: 0,0:12:46.67,0:12:50.39,Default,,0000,0000,0000,,and Michelangelo's vision\Nof people who combat adversity,
Dialogue: 0,0:12:50.41,0:12:51.68,Default,,0000,0000,0000,,overcome obstacles --
Dialogue: 0,0:12:51.71,0:12:53.60,Default,,0000,0000,0000,,they're just like athletes.
Dialogue: 0,0:12:53.63,0:12:57.06,Default,,0000,0000,0000,,So you have men and women\Nflexing and posing
Dialogue: 0,0:12:57.08,0:12:59.16,Default,,0000,0000,0000,,in this extraordinary spotlight.
Dialogue: 0,0:12:59.56,0:13:02.10,Default,,0000,0000,0000,,Presiding over this assembly is Jesus,
Dialogue: 0,0:13:02.12,0:13:04.14,Default,,0000,0000,0000,,first a suffering man on the cross,
Dialogue: 0,0:13:04.17,0:13:06.57,Default,,0000,0000,0000,,now a glorious ruler in Heaven.
Dialogue: 0,0:13:06.59,0:13:09.61,Default,,0000,0000,0000,,And as Michelangelo\Nproved in his painting,
Dialogue: 0,0:13:09.64,0:13:12.21,Default,,0000,0000,0000,,hardship, setbacks and obstacles,
Dialogue: 0,0:13:12.24,0:13:15.47,Default,,0000,0000,0000,,they don't limit excellence,\Nthey forge it.
Dialogue: 0,0:13:16.28,0:13:18.86,Default,,0000,0000,0000,,Now, this does lead us to one odd thing.
Dialogue: 0,0:13:18.89,0:13:20.70,Default,,0000,0000,0000,,This is the Pope's private chapel,
Dialogue: 0,0:13:20.73,0:13:23.89,Default,,0000,0000,0000,,and the best way you can describe that\Nis indeed a stew of nudes.
Dialogue: 0,0:13:23.91,0:13:27.67,Default,,0000,0000,0000,,But Michelangelo was trying to use\Nonly the best artistic language,
Dialogue: 0,0:13:27.70,0:13:30.28,Default,,0000,0000,0000,,the most universal artistic language\Nhe could think of:
Dialogue: 0,0:13:30.31,0:13:32.07,Default,,0000,0000,0000,,that of the human body.
Dialogue: 0,0:13:32.09,0:13:37.90,Default,,0000,0000,0000,,And so instead of the way of showing\Nvirtue such as fortitude or self-mastery,
Dialogue: 0,0:13:37.92,0:13:42.19,Default,,0000,0000,0000,,he borrowed from Julius II's\Nwonderful collection of sculptures
Dialogue: 0,0:13:42.21,0:13:46.46,Default,,0000,0000,0000,,in order to show inner strength\Nas external power.
Dialogue: 0,0:13:47.37,0:13:50.73,Default,,0000,0000,0000,,Now, one contemporary did write
Dialogue: 0,0:13:50.76,0:13:54.62,Default,,0000,0000,0000,,that the chapel was too beautiful\Nto not cause controversy.
Dialogue: 0,0:13:54.64,0:13:55.99,Default,,0000,0000,0000,,And so it did.
Dialogue: 0,0:13:56.01,0:13:59.55,Default,,0000,0000,0000,,Michelangelo soon found\Nthat thanks to the printing press,
Dialogue: 0,0:13:59.57,0:14:02.70,Default,,0000,0000,0000,,complaints about the nudity\Nspread all over the place,
Dialogue: 0,0:14:02.72,0:14:07.02,Default,,0000,0000,0000,,and soon his masterpiece of human drama\Nwas labeled pornography,
Dialogue: 0,0:14:07.04,0:14:09.22,Default,,0000,0000,0000,,at which point he added\Ntwo more portraits,
Dialogue: 0,0:14:09.24,0:14:11.72,Default,,0000,0000,0000,,one of the man who criticized him,\Na papal courtier,
Dialogue: 0,0:14:11.75,0:14:15.88,Default,,0000,0000,0000,,and the other one of himself\Nas a dried up husk, no athlete,
Dialogue: 0,0:14:15.90,0:14:18.32,Default,,0000,0000,0000,,in the hands of a long-suffering martyr.
Dialogue: 0,0:14:18.35,0:14:22.02,Default,,0000,0000,0000,,The year he died he saw\Nseveral of these figures covered over,
Dialogue: 0,0:14:22.04,0:14:27.66,Default,,0000,0000,0000,,a triumph for trivial distractions\Nover his great exhortation to glory.
Dialogue: 0,0:14:28.17,0:14:29.93,Default,,0000,0000,0000,,And so now we stand
Dialogue: 0,0:14:29.96,0:14:31.68,Default,,0000,0000,0000,,in the here and now.
Dialogue: 0,0:14:31.71,0:14:34.03,Default,,0000,0000,0000,,We are caught in that space
Dialogue: 0,0:14:34.05,0:14:36.32,Default,,0000,0000,0000,,between beginnings and endings,
Dialogue: 0,0:14:36.34,0:14:40.57,Default,,0000,0000,0000,,in the great, huge totality\Nof the human experience.
Dialogue: 0,0:14:40.60,0:14:44.57,Default,,0000,0000,0000,,The Sistine Chapel forces us\Nto look around as if it were a mirror.
Dialogue: 0,0:14:44.59,0:14:45.89,Default,,0000,0000,0000,,Who am I in this picture?
Dialogue: 0,0:14:45.91,0:14:47.22,Default,,0000,0000,0000,,Am I one of the crowd?
Dialogue: 0,0:14:47.24,0:14:48.62,Default,,0000,0000,0000,,Am I the drunk guy?
Dialogue: 0,0:14:48.64,0:14:50.10,Default,,0000,0000,0000,,Am I the athlete?
Dialogue: 0,0:14:50.12,0:14:52.38,Default,,0000,0000,0000,,And as we leave this haven\Nof uplifting beauty,
Dialogue: 0,0:14:52.40,0:14:56.35,Default,,0000,0000,0000,,we are inspired to ask ourselves\Nlife's biggest questions:
Dialogue: 0,0:14:56.37,0:15:01.21,Default,,0000,0000,0000,,Who am I, and what role do I play\Nin this great theater of life?
Dialogue: 0,0:15:01.55,0:15:02.72,Default,,0000,0000,0000,,Thank you.
Dialogue: 0,0:15:02.74,0:15:06.19,Default,,0000,0000,0000,,(Applause)
Dialogue: 0,0:15:06.22,0:15:09.19,Default,,0000,0000,0000,,Bruno Giussani: Elizabeth Lev, thank you.
Dialogue: 0,0:15:09.21,0:15:13.07,Default,,0000,0000,0000,,Elizabeth, you mentioned\Nthis whole issue of pornography,
Dialogue: 0,0:15:13.09,0:15:17.90,Default,,0000,0000,0000,,too many nudes and too many\Ndaily life scenes and improper things
Dialogue: 0,0:15:18.56,0:15:20.42,Default,,0000,0000,0000,,in the eyes of the time.
Dialogue: 0,0:15:20.44,0:15:22.05,Default,,0000,0000,0000,,But actually the story is bigger.
Dialogue: 0,0:15:22.07,0:15:25.09,Default,,0000,0000,0000,,It's not just touching up\Nand covering up some of the figures.
Dialogue: 0,0:15:25.12,0:15:27.74,Default,,0000,0000,0000,,This work of art was almost\Ndestroyed because of that.
Dialogue: 0,0:15:28.38,0:15:31.41,Default,,0000,0000,0000,,Elizabeth Lev: The effect\Nof the Last Judgment was enormous.
Dialogue: 0,0:15:31.43,0:15:34.38,Default,,0000,0000,0000,,The printing press made sure\Nthat everybody saw it.
Dialogue: 0,0:15:34.41,0:15:37.69,Default,,0000,0000,0000,,And so, this wasn't something\Nthat happened within a couple of weeks.
Dialogue: 0,0:15:37.72,0:15:42.18,Default,,0000,0000,0000,,It was something that happened\Nover the space of 20 years
Dialogue: 0,0:15:42.21,0:15:44.13,Default,,0000,0000,0000,,of editorials and complaints,
Dialogue: 0,0:15:44.16,0:15:45.32,Default,,0000,0000,0000,,saying to the Church,
Dialogue: 0,0:15:45.35,0:15:47.92,Default,,0000,0000,0000,,"You can't possibly tell us\Nhow to live our lives.
Dialogue: 0,0:15:47.95,0:15:51.29,Default,,0000,0000,0000,,Did you notice you have\Npornography in the Pope's chapel?"
Dialogue: 0,0:15:51.31,0:15:53.77,Default,,0000,0000,0000,,And so after complaints and insistence
Dialogue: 0,0:15:53.79,0:15:56.51,Default,,0000,0000,0000,,of trying to get this work destroyed,
Dialogue: 0,0:15:56.53,0:15:58.70,Default,,0000,0000,0000,,it was finally the year\Nthat Michelangelo died
Dialogue: 0,0:15:58.72,0:16:00.80,Default,,0000,0000,0000,,that the Church finally\Nfound a compromise,
Dialogue: 0,0:16:00.82,0:16:02.36,Default,,0000,0000,0000,,a way to save the painting,
Dialogue: 0,0:16:02.38,0:16:05.70,Default,,0000,0000,0000,,and that was in putting up\Nthese extra 30 covers,
Dialogue: 0,0:16:05.72,0:16:08.47,Default,,0000,0000,0000,,and that happens to be\Nthe origin of fig-leafing.
Dialogue: 0,0:16:08.49,0:16:10.08,Default,,0000,0000,0000,,That's where it all came about,
Dialogue: 0,0:16:10.10,0:16:14.23,Default,,0000,0000,0000,,and it came about from a church\Nthat was trying to save a work of art,
Dialogue: 0,0:16:14.26,0:16:16.43,Default,,0000,0000,0000,,not indeed deface or destroyed it.
Dialogue: 0,0:16:16.89,0:16:19.68,Default,,0000,0000,0000,,BG: This, what you just gave us,\Nis not the classic tour
Dialogue: 0,0:16:19.70,0:16:22.67,Default,,0000,0000,0000,,that people get today\Nwhen they go to the Sistine Chapel.
Dialogue: 0,0:16:22.70,0:16:24.80,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:16:24.82,0:16:26.60,Default,,0000,0000,0000,,EL: I don't know, is that an ad?
Dialogue: 0,0:16:26.63,0:16:28.31,Default,,0000,0000,0000,,(Laughter)
Dialogue: 0,0:16:28.33,0:16:31.32,Default,,0000,0000,0000,,BG: No, no, no, not necessarily,\Nit is a statement.
Dialogue: 0,0:16:31.34,0:16:35.26,Default,,0000,0000,0000,,The experience of art today\Nis encountering problems.
Dialogue: 0,0:16:35.28,0:16:38.16,Default,,0000,0000,0000,,Too many people want to see this there,
Dialogue: 0,0:16:38.18,0:16:41.31,Default,,0000,0000,0000,,and the result is five million people\Ngoing through that tiny door
Dialogue: 0,0:16:41.33,0:16:43.65,Default,,0000,0000,0000,,and experiencing it\Nin a completely different way
Dialogue: 0,0:16:43.67,0:16:44.84,Default,,0000,0000,0000,,than we just did.
Dialogue: 0,0:16:44.86,0:16:48.39,Default,,0000,0000,0000,,EL: Right. I agree. I think it's really\Nnice to be able to pause and look.
Dialogue: 0,0:16:48.41,0:16:50.72,Default,,0000,0000,0000,,But also realize,\Neven when you're in those days,
Dialogue: 0,0:16:50.74,0:16:52.75,Default,,0000,0000,0000,,with 28,000 people a day,
Dialogue: 0,0:16:52.78,0:16:55.88,Default,,0000,0000,0000,,even those days when you're in there\Nwith all those other people,
Dialogue: 0,0:16:55.91,0:16:58.31,Default,,0000,0000,0000,,look around you and think\Nhow amazing it is
Dialogue: 0,0:16:58.34,0:17:01.93,Default,,0000,0000,0000,,that some painted plaster\Nfrom 500 years ago
Dialogue: 0,0:17:01.96,0:17:05.07,Default,,0000,0000,0000,,can still draw all those people\Nstanding side by side with you,
Dialogue: 0,0:17:05.09,0:17:07.06,Default,,0000,0000,0000,,looking upwards with their jaws dropped.
Dialogue: 0,0:17:07.09,0:17:12.01,Default,,0000,0000,0000,,It's a great statement about how beauty\Ntruly can speak to us all
Dialogue: 0,0:17:12.04,0:17:14.72,Default,,0000,0000,0000,,through time and through geographic space.
Dialogue: 0,0:17:14.75,0:17:15.94,Default,,0000,0000,0000,,BG: Liz, grazie.
Dialogue: 0,0:17:15.97,0:17:17.17,Default,,0000,0000,0000,,EL: Grazie a te.
Dialogue: 0,0:17:17.20,0:17:18.37,Default,,0000,0000,0000,,BG: Thank you.
Dialogue: 0,0:17:18.40,0:17:20.26,Default,,0000,0000,0000,,(Applause)