Claus Sluter and Claus de Werve, Mourners, from the Tomb of Philip the Bold

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Claus Sluter and Claus de Werve, Mourners, from the Tomb of Philip the Bold발음듣기

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(piano playing) [Dr. Zucker] We're in the museum of fine arts in Dijon and we're looking at one of the great treasures of Burgundy.발음듣기

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These are the mourners, a series of small alabaster carvings of Carthusian monks, the clergy, and the family mourning the death of Philip the Bold, the Duke of Burgundy.발음듣기

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[Dr. Harris] The Dukes of Burgundy, specifically at this time Philip the Bold ruled Burgundy which included Flanders areas that are today France.발음듣기

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He was very powerful, very wealthy and he had established a Carthusian monastery just outside of the city walls of Dijon as a burial place for his family.발음듣기

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These mourning figures occupied an arcaded space below a sculptural effigy of the Duke himself in prayer and Angel's ushering him into Heaven.발음듣기

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The idea of making his tomb there was that the monks in this monastery would be available to pray for the soul of Philip the Bold.발음듣기

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[Dr. Zucker] The most remarkable element here is the individuality of each of these figures.발음듣기

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[Dr. Harris] That's something that Claus Sluter, who was one of the sculptures, along with Claus de Werve was known for, a kind of attention to realism and expressiveness.발음듣기

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[Dr. Zucker] There's something incredibly powerful and monumental about these tiny little figures.발음듣기

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They're only about 18 inches, 14 inches tall, and yet there's a real sense of solemnity.발음듣기

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[Dr. Harris] They're certainly not the ethereal swaying figures that we see normally in Gothic art.발음듣기

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Here's this transitional moment away from the Gothic toward what we think of as the Renaissance.발음듣기

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The figures have that waviness and a new monumentality to the drapery and bodies that we associate with the Renaissance.발음듣기

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But these figures are so expressive, each one represents, in a way, a different aspect of grief.발음듣기

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It's not just in the faces, in many cases we don't see the faces, the figures are hooded.발음듣기

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It's in their drapery, it's in their body, that emotion.발음듣기

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[Dr. Zucker] They do embody the very notion of mourning.발음듣기

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[Dr. Harris] This is a figure where we don't see the face at all, we see hood in place of a face and this vertical folds of drapery gathered in one place where the monk underneath is obviously holding the drapery in a sense of pain.발음듣기

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[Dr. Zucker] That's right, it's turning inward and the drapery becomes as expressive as a human face, as hands even when they're not exposed to us.발음듣기

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[Dr. Harris] In some ways it's almost incredibly modern, it's like Martha Graham in Dance where the movement of folds of cloth is expressive of feeling.발음듣기

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[Dr. Zucker] I love the way so many of the figures deal with the pain of mourning in an isolated way.발음듣기

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Then there are also these very tender moments where there's a comforting that takes place.발음듣기

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Seeing these figures isolated outside of the context of the effigy allows us to see that abstraction.발음듣기

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Of course, this would have been just one element in a grand space that was meant to honor the dead.발음듣기

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[Dr. Harris] You're right, we're here and the figures are in glass boxes and we can walk around them, but we were certainly never meant to see them this way. (piano playing)발음듣기

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