Bronze doors, Saint Michael's, Hildesheim, commissioned by Bishop Bernward, 1015

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Bronze doors, Saint Michael's, Hildesheim, commissioned by Bishop Bernward, 1015발음듣기

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We're looking at the Bishop Bernward doors that date from about 1015.발음듣기

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We know that Bishop Bernard went on a pilgrimage to Rome, and then returned back to Hildesheim and wanted to recreate some of the monumental art that he saw.발음듣기

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And specifically when he was in Rome, he saw the monumental wooden doors at Santa Sabina that have scenes from the Old and New Testament carved into them.발음듣기

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And he felt like he needed his own doors.발음듣기

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We read these starting in the upper left hand corner, in which you have the creation of Eve from the side of Adam.발음듣기

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And then, below that, is the presentation of Eve to Adam.발음듣기

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Then the Temptation. Below that is then the accusation of Adam and Eve.발음듣기

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And then below that the Expulsion.발음듣기

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The panel below that, interrupted by the door handles, and we see Adam working the land on the left - Eve nursing on the right.발음듣기

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And a fun fact about Eve's nursing is that this is one of maybe only twenty images of Eve nursing.발음듣기

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Below that we have Cain and Abel and their sacrifices or presentation to the Lord.발음듣기

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Below that the final panel is the murder of Abel by Cain.발음듣기

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And then instead of going back to the top on the right it starts at the bottom, where we have the Enunciation with Mary and the Angel.발음듣기

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Then the Nativity - that's the birth of Jesus.발음듣기

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And then the scene is interrupted by the door handle here, is the adoration of the Magi.발음듣기

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We have the three Magi on the right approaching Mary and Jesus on the left.발음듣기

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Above that we have the Presentation in the Temple.발음듣기

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Above that we've got Christ being presented to either Herod or Pilate before his crucifixion.발음듣기

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Above that we've got the crucifixion of Christ.발음듣기

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About that we have the Marys at the tomb, which was the standard scene showing the resurrection in the early Middle Ages.발음듣기

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And then at the very top we have what's called the "Noli me tangere" [Touch me not]발음듣기

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Mary Magdalene sees Jesus in the garden and he says, "Don't touch me."발음듣기

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And so we have our scenes from early Genesis, and then scenes from the Gospels.발음듣기

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Now one of the really interesting things that happens here, is that we have all the scenes lined up next to each other.발음듣기

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There are some visual and also some thematic patterns that happen left to right.발음듣기

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And the one that I think is a really good example - in the third panel from the top, we've got the Temptation.발음듣기

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Adam and Eve are about to eat the fruit.발음듣기

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And then on the right, the Crucifixion.발음듣기

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And if we look at the tree that holds the fruit in the Adam and Eve scene- it's very much a cruciform shaped tree - just as we have Christ on the cross in the center of the other image.발음듣기

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And then we have Adam and Eve on either side - just as we have the tormentors on either side.발음듣기

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And then on he far edges of the Adam-and-Eve scene, we've got trees and then we have Mary and John in the crucifixion scene.발음듣기

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So there's a similarity of composition.발음듣기

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And what I think that does is bring out the thematic connection of "In Adam all men die.발음듣기

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In Christ, all men are made alive."발음듣기

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Which is a really important idea for Christianity - and especially for Christianity in the Middle Ages.발음듣기

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Absolutely. This is a very long, old tradition in Christianity - to compare Christ as the new Adam- and then Mary as the new Eve.발음듣기

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And you have traditions that the cross was made from the wood of the tree in the garden.발음듣기

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So this is an Ottonian work of art.발음듣기

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And Ottonians were kind of hangers-on to the Carolingian Renaissance.발음듣기

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They saw themselves as being inheritors of the Carolingian Empire.발음듣기

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In my mind, they're not so much looking back so diligently to the classical models.발음듣기

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But there is definitely the flavor of some of that Carolingian Renaissance here.발음듣기

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These are cast in solid bronze.발음듣기

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And it's very much thought that the lost wax method was used here - that Bishop Bernward had his artists recreate or rediscover the lost-wax method, so that these doors could be cast in two single pieces, as opposed to being hammered from the inside with the 'repos?'발음듣기

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And that is very much in keeping with that Carolingian and the inherited idea of looking back to classical and ancient models and reclaiming them and reviving them.발음듣기

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Right. So we have the ancient method used here in the Ottonian Period.발음듣기

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