(jazz music)
- [Man] We're in the metropolitan museum of art,
looking at a painting by Lucas Cranach the Elder.
It's a painting that should not be hanging by
itself on a wall.
It shows St. Maurice,
but it was originally part of a much larger altarpiece.
It would have been just one of many panels.
- [Woman] The altarpiece from which this painting comes
was located in what is today Germany in Halle,
it was commissioned by a very famous Cardinal
Albrecht of Brandenburg, who was the most important member
of the Catholic church in the Holy Roman Empire.
- [Man] And Albert amassed the largest collection of relics
and reliquaries in Western Europe.
He had hundreds and hundreds of relics.
A relic is a physical remnant of a saintly figure
of a spiritual figure.
It might be a body part,
it could be the finger of a saint
or it might be a piece of cloth.
But an object that had great spiritual power
so much so that elaborate containers were built
in honor of the sacred objects.
- [Woman] And the reason we mentioned
that he had this impressive collection of relics.
He had 8,200 relics.
Is that this painting is actually a representation
of a life size reliquary of Saint Maurice
that was in the collection
of Cardinal Albrecht of Brandenburg.
- [Man] The painting survives.
But unfortunately the original reliquary does not.
It was destroyed in a fire.
This painting was produced before
the destruction of the reliquary.
Although it's important to note
that it was painted probably from a watercolor
made of the reliquary not from the Relic query itself.
- [Woman] Before the reliquary was destroyed,
it and more than 300 other of these important reliquaries
were actually painted in watercolor.
So we still have that book that shows us
what these reliquaries would have looked like.
This painting is looking to that watercolor
and the reliquary was one of the most important
in this collection because Saint Maurice
was the patron Saint of the Holy Roman Empire
since the 10th century.
- [Man] The Holy Roman Empire was a political entity
in Western and central Europe,
basically what is now Germany, Switzerland
and it was headed by the Holy Roman Emperor
who at this time was Charles V
who fashioned himself as the inheritor
of the great medieval empire of Charlemagne.
- [Woman] When this painting was produced,
which is sometime around 1520-1525.
The idea of the Holy Roman empire is important
to keep in mind as is a Catholic Cardinal because they'll
Protestant Reformation has just happened.
- [Man] In 1517, Martin Luther posts
the 95 theses on the castle church in Wittenberg
and unleashes the Protestant Reformation,
which will fracture the power of the Roman Catholic church
in Western Europe.
- [Woman] And something that Protestants do not agree with,
is the concept of a Relic that we have a painting here
that is showing a copy of a relic
is important in this context.
That is actually made even more complicated
by the artist Lucas Cranach the Elder
is a very well-known artist of the German Renaissance,
but he was also the artist of the Protestant reformation.
- [Man] He was a friend of Martin Luther's.
He painted Martin Luther's portrait yet here he is painting
an extremely important saint.
And one of the things that Luther finds problematic
are the idea of saints themselves.
We're in this transitional moment in this transitional place
but for all that we haven't even gotten
to the single most interesting part in this painting
which is the subject Saint Maurice
is represented as a black African.
- [Woman] Saint Maurice was an early Christian saint.
He lived in the third century
and he was actually born in Egypt.
He was part of a Roman legion and he was murdered.
He was killed along with some of his men
when he refused to heal Christians.
And so he's beheaded.
- [Man] That takes place in what is now Switzerland,
a place that was then part of the Roman Empire.
- [Woman] And Saint Maurice as we mentioned earlier,
became the patron Saint of the Holy Roman Empire
in the 10th century
and it's around that time that his cult or his veneration
really begins to increase.
And then in the 13th century.
You begin to see transformations in the way
that Saint Maurice is depicted.
One of the earliest representations we have of him
as a black African comes from this area as well.
And it's a three-dimensional sculpture of him.
From about the 13th century
until about midway or the late 16th century.
He's shown as a black African.
- [Man] And here depicted with great nobility.
Wearing incredibly elaborate armor.
In fact armor that was modeled
on the armor of the Holy Roman Emperor Charles V.
It's a type of armor that's known as field armor
and here you can see that it's been highlighted with gold
and with an extraordinary array of jewels.
- [Woman] We're able to date this armor
to around 1500-1510, because right at that moment,
you have huge transformations in the style of the armor
that we see especially in the feet.
Armor went from a pointed-toe shoe to a flat-toed shoe.
This armor that is modeled after
Charles V armor is in Vogue at that time.
- [Man] Look at the hat that he wears,
it's fringed with these lovingly painted ostrich feathers
and he holds a banner on which you can just make out
the edge of the emblem of the Holy Roman Emperor
- [Woman] The Eagle, and we even see symbols
of what looked like the people keys
on the bottom of the banner as well.
We also see a symbol of the Order of the Golden Fleece
that's just above the necklace and attached to his armor.
- [Man] The Golden Fleece was an extremely prestigious order
that was associated with chivalry
and that had been formed in the 15th century.
- [Woman] And so the church that this reliquary was in,
we presume that this altarpiece
would have been there as well.
The patron saint of that church was also Saint Maurice
in addition to a couple of other saints
including Mary Magdalene.
But we have a lot of ways in which this painting
is reminding us not only of the reliquary
but also of the patron of this church
also of the patron of the Holy Roman Empire
and the power of the Holy Roman Empire in many ways
which is referenced in the way
that Saint Maurice is displayed here.
Very regal, very confident, very stately.
- [Man] I wanna pick up on the issue of power
for just a moment, because it's not just
the power of the emperor that's at stake here.
The value of a relic was in its spiritual power.
And it's interesting to think about
whether in the 16th century when this was painted,
whether or not a depiction of a relic,
was imbued at least to some extent with
the power of the original.
- [Woman] Something that is so important here as well
is to remember that there were many different people
living in Renaissance Europe at the time.
Here we have Saint Maurice born in Thebes in Egypt,
who is displayed as a black African
and there were many people from Africa or of African
descent who were living in Europe.
And so it would not have been out of the ordinary
or strange to see people of color in the Renaissance.
- [Man] And scholars have conjecture
that people of color were commonly part
of the courts of Europe.
And so occupied privileged positions in the political
hierarchy of Europe.
- [Woman] Unfortunately by the leader 16th century,
a process of whitewashing occurred
in Saint Maurice is actually then displayed as white.
There is this dynamic that
shifts in the context of the 16th century,
where the issue of what we call race does seem to matter
and become important in the later 16th Century.
- [Man] And it's interesting to think about that dynamic
in relationship to Europe's colonial expansion
during this period, European powers are asserting themselves
in the Americas and increasingly in Asia and in Africa.
- [Woman] And I think it's also important to keep in mind
that when Saint Maurice is being shown as a black African,
it's at that same time
where you also have one of the Magi Balthazar
being shown as a black African as well.
(jazz music)