A Teenage Girl’s Dream Through Art History
A middle-class teenage girl from Buenos Aires, longing for trendy clothes and escape from her insecure neighborhood, fell asleep one night while studying ancient art.
She dreamt she was standing in the Church of Hagia Sophia in Constantinople, observing the walls. Behind her, Emperor Justinian appeared, speaking as if they were lifelong acquaintances, explaining the significance of the location.
As she walked down the street, she noticed her elegant attire, similar to those around her: silk robes, damask, brocade, and other rich fabrics, gathered with wide, ornate leather belts. A semicircular cloak with a badge adorned her left side, complemented by dazzling jeweled stones.
She realized she was in Constantinople, marveling at the architecture and sculptures, as perfect as depicted in books. The rich materials, vibrant colors, and abundant gold captivated her.
The people’s eyes, honest, majestic, and wide, resembled those in paintings. Looking through a window, she saw a man surrounded by various tools. The man, Philo of Byzantium, an astronomer, scientist, physician, and philosopher, appeared beside her. When she inquired about the year, he presented a circular mechanical calendar, turning its needles. As she glanced at the date, he vanished, and she found herself in a long, arched corridor overlooking a vast courtyard, reminiscent of the Monastery of Santo Domingo de Silos in Burgos.
Between the columns, a young girl, resembling Alexander the Great, smiled at her and led her down the corridor. Her attire transformed, now adorned with French hoods, corsets, and petticoats. Alexander the Great discussed the evolving customs of women and society, highlighting the significant changes during those times. Passing through a door, she entered another realm, the Cathedral of St. Peter and Mary, awestruck by its beauty, lighting, and paintings. She explored the cathedral’s vastness, admiring its structure and finesse.
Emerging onto the streets of Italy, she was impressed by the architecture, the use of squared, unpolished stones, the ship-like shape of the temples, their height and width, and the pillars replacing columns. The archivolts, rocks forming decorative arches at temple entrances, stood out.
An old woman handed her a box and departed. Lucia opened it and abruptly found herself in Chartres Cathedral, gazing at the exquisite stained-glass windows. Bishop Fulbert of Chartres approached, smiling, and recounted the cathedral’s history before bidding her farewell at the door.
Outside, her clothing changed again, now a gown with cuffs and a large bow, reflecting the Medieval Age. People dressed in medieval attire approached. A man resembling someone she’d seen in a book introduced himself as Aristotle. He explained the societal changes throughout history and the discovery of multicolored stained glass.
Reading about Leonardo Da Vinci, she suddenly found herself beside him in a museum filled with important paintings. Observing the Mona Lisa, Da Vinci suggested she take two steps to the left. The Mona Lisa’s smile disappeared. Four steps to the right, and the smile reappeared. Da Vinci explained this phenomenon and other details of Renaissance paintings.
Noticing a musical instrument, she followed a person rising from the ground to the back of a room. Inside, musicians played instruments, and a girl read a book. Delicate paintings expressed deep feelings of love. Being so close to them, she felt the true essence of Romanticism, something she hadn’t grasped from school books.
Continuing her tour, she passed a mirror and saw her reflection in a beautiful silk gown. The silhouette embroidered on the mirror became a door. Opening it, she entered a vast, beautiful room with a sign: “The Cathedral of the Nativity of Our Lady of Baeza, Jaén (Spain).” She toured the cathedral, admiring details like the vault and Italianate reliefs. Looking down from the top, she found herself in another place, facing a box labeled Die Tafelrunde by Adolph von Menzel. In the “Marble Hall,” she observed bright, smooth, clear colors, forms inspired by nature, mythology, and Oriental art. This art, essentially mundane and devoid of religious influence, addressed everyday life and human relationships. It sought to reflect what was pleasing, refined, exotic, and sensual. Her clothing changed again, now characteristic of the Rococo period, featuring a wheel-shaped dress with a fitted bodice, pleated tunic, and loose fit.
Leaving the cathedral, she heard festive noises and voices. She found herself before a crowded doorway, where women murmured amongst themselves. A man emerged, William Hogarth, who contributed to the theory of Rococo beauty. He led her through halls filled with beautiful, delicate paintings in soft pastel colors.
Turning to speak to him about a painting, she found him gone, the room transformed. Behind her stood a marble sculpture, its beauty and detail captivating her. Overwhelmed by the diverse sculptural elements and their realism, she felt sad and tired, longing for home. A young man, noticing her sadness, approached and consoled her. She recounted her journey, unsure how to return to her world. He gave her a watch. She took it and awoke in her bed, the book and watch beside her. She rushed to tell her parents about her wondrous dream.