(piano playing)
Dr. Zucker: We're standing on a wooden walkway
suspended over water, which is actually fairly deep.
Dr. Harris: Well, this is a well after all.
We are looking at a beautiful monument by
Claus Sluter called The Well of Moses.
It got that title fairly recently,
it was originally known as The Great Cross.
Dr. Zucker: Of course the cross is no longer here.
Let's give this a little bit of context.
Dr. Harris: There's a lot of things that are
no longer here, right?
This monument stood in the middle of a cloister
surrounded by the cells of Carthusian monks,
the rooms where they would meditate
and this cloister was in a monastery established by
Philip the Bold, the Duke of Burgundy.
Dr. Zucker: So we're talking about the late
14th Century.
We're in Burgundy, in Dijon, or rather I should say
just outside of the old walls of the city.
This was a place that the Duke had commissioned
in order that monks could continuously say prayers
over his soul.
Dr. Harris: It also was intended by Philip,
and became his burial place and the burial place
of his family.
Dr. Zucker: It's important to remember that the
Carthusians are a closed society.
That is they dedicate themselves entirely
to solitary prayer.
Dr. Harris: What better environment to ensure
the salvation of your soul for eternity.
Dr. Zucker: It's interesting that Philip the Bold,
the Duke actually seems to have really loved
the Carthusians.
In fact, he specified that he would be buried
in a Carthusian robe and of course he wanted
to be buried here.
Dr. Harris: We're looking at a very well
funded monastery, the most brilliant artists of
Europe are working here including Claus Sluter.
We're looking up at a hexagonal structure.
On each side is a Prophet standing in
front of a niche.
Dr. Zucker: Interestingly and importantly,
this is breaking with the Medieval tradition
of having those figures completely embedded
within the architecture.
Dr. Harris: Each figure of the Prophet is separated
by a lovely column with a Capital
and standing on those Capital's are Angel's
in positions of grieving and prayer
with their wings outstretched.
Above them we see a base and on the base would
have stood a very tall and narrow cross
with Christ on it and at the base of that cross
the single, kneeling figure of Mary Magdalene.
All of this was painted, you can see blue,
there would have been gold and green.
It really would have come alive
and the monks would have been inspired
in their prayer when they looked at this monument.
Dr. Zucker: Sluter is able to give an
individual life to each figure.
The drapery really does give a sense of
the movement of the body within it,
maybe not so much the structures of the body
but at least its engagement with the space around it.
Dr. Harris: And look up at the figure of King David.
First of all, a figure that would have been very
important to the Duke of Burgundy,
of David, himself, a King.
He's so specific, so individualized.
There's a depth and sense of wisdom
in his personality.
There's a recent suggestion that that figure next
to King David, who is the Prophet Jeremiah
is also a portrait of Philip the Bold.
Dr. Zucker: In fact, if we look at contemporary
portraits of Philip they look awfully similar.
Dr. Harris: They do.
Dr. Zucker: Moses is looking out past us,
above us as a seer, but Zachariah looks down.
Dr. Harris: And almost offers us his prophecy.
Dr. Zucker: But also challenges us,
challenges the monks that would have lived with
this sculpture, "Do you see as I see?
"Do you understand the importance of the tragedy
"of the spiritual and miracle that transpires above?"
Dr. Harris: We have these Angel's all in
different positions, some with their arms folded
on their chest, some with their arms raised,
some clutching their drapery or touching their face.
There's a depth of emotion in the figures of the
Prophets and a real depth of emotion in the Angel's,
all of which, I think, would have been
inspiration to the monks.
Dr. Zucker: That's important to remember.
I mean, here we are at the well,
the center of life of the monastery.
The monastery itself was meant to continuously
pray for the soul of the Duke,
so in some ways this sculptural group of what
we now call The Well of Moses was the engine
in the center of the monastery that was meant
to power, in a sense, inspire the prayer
of the monks.
It is one of the most spectacular late
Medieval sculptures that certainly I've ever seen.
(piano playing)