1
00:00:00,000 --> 00:00:02,067
Once, on a ridge above Jerusalem, the

2
00:00:02,067 --> 00:00:06,733
biblical narrative places a building at
the centre of Israel's sacred life.

3
00:00:07,833 --> 00:00:10,733
It was described as a house for the name
of Israel's God.

4
00:00:11,933 --> 00:00:14,033
The Ark was carried into its innermost
room.

5
00:00:14,700 --> 00:00:17,567
Kings repaired it, altered it, and removed
things from it.

6
00:00:18,600 --> 00:00:22,133
Then the story ends in fire, plunder, and
an empty space.

7
00:00:22,967 --> 00:00:24,367
No photograph survives.

8
00:00:24,900 --> 00:00:28,700
No complete excavated plan from Jerusalem
can recover it for us.

9
00:00:29,733 --> 00:00:34,100
Yet search for Solomon's Temple and
finished buildings appear everywhere:

10
00:00:34,100 --> 00:00:36,467
golden, symmetrical, confident.

11
00:00:37,733 --> 00:00:39,667
So we are going to do something different.

12
00:00:40,833 --> 00:00:42,800
We are going to rebuild Solomon's Temple.

13
00:00:43,667 --> 00:00:47,900
But every wall, doorway, furnishing and
movement must earn its place.

14
00:00:48,767 --> 00:00:51,133
If it comes from an ancient text, we will
say so.

15
00:00:51,300 --> 00:00:54,467
If archaeology at another site makes it
plausible, we will show the comparison.

16
00:00:54,500 --> 00:00:57,033
If a model-maker had to choose, the choice
will remain visible.

17
00:00:57,067 --> 00:00:58,700
This is The Stone Record.

18
00:00:59,100 --> 00:01:00,700
We do not begin with a finished picture.

19
00:01:01,700 --> 00:01:05,833
We build one, and show you

20
00:01:06,500 --> 00:01:07,267
where it came from.

21
00:01:12,100 --> 00:01:14,167
The biblical story does not introduce the

22
00:01:14,167 --> 00:01:16,500
Temple as an architectural commission
alone.

23
00:01:17,333 --> 00:01:19,800
In First Kings, David wanted to build a

24
00:01:19,800 --> 00:01:23,433
house for the divine name but did not
complete it.

25
00:01:23,433 --> 00:01:29,033
Solomon presents the project as the work
of a successor ruling in a period of rest.

26
00:01:29,033 --> 00:01:31,833
Timber is requested from Hiram of Tyre.

27
00:01:31,833 --> 00:01:34,733
Cedar and cypress come from Lebanon.

28
00:01:34,733 --> 00:01:37,767
The text describes builders, stonecutters,

29
00:01:37,767 --> 00:01:41,367
labour forces and great dressed stones for
the foundation.

30
00:01:42,300 --> 00:01:44,733
It also describes the price of
monumentality.

31
00:01:44,733 --> 00:01:49,200
Timber moves through an international
agreement.

32
00:01:49,200 --> 00:01:50,800
Food is exchanged.

33
00:01:50,800 --> 00:01:52,933
Labour is organized in large rotations.

34
00:01:52,933 --> 00:01:56,500
Stone is quarried and prepared before the
house rises.

35
00:01:56,500 --> 00:02:01,867
Even within the narrative, the Temple is
not an isolated miracle of design;

36
00:02:01,867 --> 00:02:04,533
it is a political and economic project

37
00:02:04,533 --> 00:02:08,067
drawing people and material across a
kingdom and beyond it.

38
00:02:09,267 --> 00:02:12,900
That does not let us verify the reported
numbers.

39
00:02:12,900 --> 00:02:17,467
It does tell us what kind of achievement
the author wants the reader to see:

40
00:02:17,467 --> 00:02:20,300
peace converted into construction, royal

41
00:02:20,300 --> 00:02:22,667
power converted into a permanent sacred
centre.

42
00:02:23,967 --> 00:02:26,633
That is the first reconstruction layer:

43
00:02:26,633 --> 00:02:28,600
not a facade, but an intention.

44
00:02:28,600 --> 00:02:31,833
The building is presented as a permanent

45
00:02:31,833 --> 00:02:37,033
focus after the portable Tent of Meeting,
a place around which covenant memory,

46
00:02:37,033 --> 00:02:40,300
royal authority and priestly service could
be organized.

47
00:02:41,433 --> 00:02:43,500
But the same text refuses a simple idea

48
00:02:43,500 --> 00:02:46,667
that a deity could be contained by
architecture.

49
00:02:46,667 --> 00:02:52,567
At the dedication, Solomon's prayer asks
whether even heaven can contain God.

50
00:02:52,567 --> 00:02:58,600
The house matters, in the narrative, not
because stone traps the divine, but

51
00:02:58,600 --> 00:03:03,533
because people, objects, sacrifice and
prayer are directed toward one place.

52
00:03:04,667 --> 00:03:06,633
So the Temple begins as a paradox:

53
00:03:06,633 --> 00:03:10,567
monumental, but not sufficient;

54
00:03:10,567 --> 00:03:14,933
a fixed centre for a presence the text
says is not confined by walls.

55
00:03:17,933 --> 00:03:19,267
Now we can begin to build.

56
00:03:19,267 --> 00:03:23,567
First Kings gives the main house three
dimensions:

57
00:03:23,567 --> 00:03:26,433
sixty cubits long, twenty wide, and thirty
high.

58
00:03:26,433 --> 00:03:29,233
That sounds precise enough to draw.

59
00:03:29,233 --> 00:03:31,900
It is not precise enough to recover.

60
00:03:32,967 --> 00:03:35,367
The description continues with a porch
across the front.

61
00:03:35,367 --> 00:03:37,733
Beyond it is a long hall, and beyond that

62
00:03:37,733 --> 00:03:40,867
an inner sanctuary described as twenty
cubits in each direction.

63
00:03:40,867 --> 00:03:44,567
Around the outside, the text places a
structure in three levels.

64
00:03:44,833 --> 00:03:48,633
These measurements create a sequence the
body can understand:

65
00:03:48,633 --> 00:03:49,133
approach;

66
00:03:49,133 --> 00:03:49,700
threshold;

67
00:03:49,700 --> 00:03:50,433
long interior;

68
00:03:50,433 --> 00:03:52,100
restricted inner room.

69
00:03:52,100 --> 00:03:56,467
The deeper you move, the more concentrated
the space becomes.

70
00:03:57,367 --> 00:04:01,900
Imagine the sequence without inventing the
decoration.

71
00:04:01,900 --> 00:04:06,267
From outside, the building reads first as
a long mass.

72
00:04:06,267 --> 00:04:08,833
The porch interrupts the front edge.

73
00:04:08,833 --> 00:04:13,400
The hall pulls movement forward rather
than outward.

74
00:04:13,400 --> 00:04:16,333
The inner room ends that movement.

75
00:04:16,333 --> 00:04:19,167
Length creates anticipation;

76
00:04:19,167 --> 00:04:22,200
narrowing access creates importance.

77
00:04:22,200 --> 00:04:27,867
Architecture is already doing narrative
work before one ornament appears.

78
00:04:28,533 --> 00:04:31,733
The exterior side structure complicates
the simple rectangle.

79
00:04:31,733 --> 00:04:34,567
Its three levels suggest subsidiary space

80
00:04:34,567 --> 00:04:38,233
around the main house, but the connection
details are difficult.

81
00:04:38,233 --> 00:04:41,100
A model can acknowledge that volume

82
00:04:41,100 --> 00:04:44,700
without pretending its stairs, doors and
roofline have been recovered.

83
00:04:45,667 --> 00:04:49,833
But the cubit was a human-scale unit, not
one universal modern standard.

84
00:04:49,833 --> 00:04:55,033
Our controlled record has not established
one exact conversion for this building.

85
00:04:55,033 --> 00:04:57,767
So the numbers on screen remain cubits.

86
00:04:57,767 --> 00:05:02,733
The model can preserve proportion without
pretending to recover centimetres.

87
00:05:03,567 --> 00:05:07,833
And dimensions still leave enormous
questions.

88
00:05:07,833 --> 00:05:09,667
How did the roof work?

89
00:05:09,667 --> 00:05:11,900
What did the facade look like?

90
00:05:11,900 --> 00:05:13,967
How were windows placed?

91
00:05:13,967 --> 00:05:16,767
How did the side structure connect?

92
00:05:16,767 --> 00:05:21,133
Even the two great columns named Jachin
and Boaz can be positioned in more than

93
00:05:21,133 --> 00:05:25,233
one way because the texts do not resolve
their structural role for us.

94
00:05:26,367 --> 00:05:28,033
The skeleton is real as Text.

95
00:05:28,033 --> 00:05:30,833
The finished body is not yet earned.

96
00:05:34,000 --> 00:05:37,800
The descriptions become richer inside.

97
00:05:37,800 --> 00:05:40,600
Stone is covered with wood.

98
00:05:40,600 --> 00:05:43,333
Cedar and cypress are named.

99
00:05:43,333 --> 00:05:50,333
Carved gourds, flowers, palms and cherubim
appear in the textual surface.

100
00:05:50,333 --> 00:05:52,800
Gold covers parts of the interior.

101
00:05:52,800 --> 00:05:58,333
The inner sanctuary is associated with
enormous cherubim.

102
00:05:58,333 --> 00:06:01,000
Kings describes the Ark, an altar,

103
00:06:01,000 --> 00:06:07,200
lampstands, tables, basins, wheeled stands
and a great bronze basin.

104
00:06:07,200 --> 00:06:09,700
Outside the main house, the bronze

105
00:06:09,700 --> 00:06:12,733
programme expands the building's practical
and visual world.

106
00:06:12,733 --> 00:06:14,967
Water containers, stands and metalwork

107
00:06:14,967 --> 00:06:18,267
imply weight, movement and repeated
activity.

108
00:06:18,267 --> 00:06:21,733
At the entrance, Jachin and Boaz are not
background decoration;

109
00:06:21,733 --> 00:06:25,900
they are named objects through which the
facade is remembered.

110
00:06:25,900 --> 00:06:28,967
Inside, tables and lampstands create
rhythm.

111
00:06:28,967 --> 00:06:32,633
The Ark gives the innermost room a focal
object in the dedication narrative.

112
00:06:32,633 --> 00:06:34,867
This inventory gives the Temple character.

113
00:06:34,867 --> 00:06:37,133
It was not, in the narrative, an empty
limestone box.

114
00:06:37,133 --> 00:06:39,733
Texture, reflection, scent, restricted
sightlines and the repeated glow of metal

115
00:06:39,733 --> 00:06:41,600
would have shaped how the rooms were
perceived.

116
00:06:41,967 --> 00:06:44,300
But notice what we have just done.

117
00:06:44,300 --> 00:06:46,900
The text names materials and objects.

118
00:06:46,900 --> 00:06:49,700
It does not hand us a production
photograph.

119
00:06:49,700 --> 00:06:57,167
A carved palm can be represented without
inventing its exact pattern.

120
00:06:57,167 --> 00:07:00,333
Gold can be shown as a material claim

121
00:07:00,333 --> 00:07:03,733
without turning every surface into a
fantasy palace.

122
00:07:03,733 --> 00:07:10,033
A lampstand can occupy the inventory while
its precise silhouette remains unresolved.

123
00:07:11,067 --> 00:07:14,767
So our Working model adds each object
twice:

124
00:07:14,767 --> 00:07:19,267
first as a named textual item, then, only

125
00:07:19,267 --> 00:07:24,200
if necessary, as a visibly provisional
form.

126
00:07:24,600 --> 00:07:28,067
It can also show absence as a designed
element.

127
00:07:28,067 --> 00:07:31,500
Where the text gives a name but not a

128
00:07:31,500 --> 00:07:38,833
dependable shape, a labelled silhouette or
pool of light can hold the object's place.

129
00:07:38,833 --> 00:07:43,433
Where two sources differ, the model can
branch.

130
00:07:43,433 --> 00:07:48,900
Completion is not the only way to make a
reconstruction feel alive.

131
00:07:49,700 --> 00:07:53,267
The image grows more immersive, but also
more accountable.

132
00:07:56,367 --> 00:07:59,500
Architecture becomes meaningful when
people move through it.

133
00:07:59,500 --> 00:08:02,767
Here we must be especially careful.

134
00:08:03,433 --> 00:08:08,000
First Kings reports that Solomon assembled
elders and tribal leaders in Jerusalem.

135
00:08:08,000 --> 00:08:11,467
Priests carried the Ark from the City of
David.

136
00:08:11,467 --> 00:08:14,033
The text traces it into the inner

137
00:08:14,033 --> 00:08:17,933
sanctuary, beneath the wings of the
cherubim.

138
00:08:17,933 --> 00:08:20,600
It reports sacrifice, a cloud filling the

139
00:08:20,600 --> 00:08:24,000
house, and priests unable to continue
their service.

140
00:08:24,000 --> 00:08:28,800
Solomon then addresses the assembly and
prays toward the Temple.

141
00:08:29,833 --> 00:08:33,533
We cannot film that as recovered history.

142
00:08:33,533 --> 00:08:38,433
We do not know the faces, choreography,
sound, weather or exact crowd.

143
00:08:39,500 --> 00:08:44,133
But we can reconstruct the functions the
narrative assigns to space.

144
00:08:44,133 --> 00:08:45,567
A route rises from the city.

145
00:08:45,567 --> 00:08:48,433
A public assembly gathers outside.

146
00:08:48,433 --> 00:08:50,233
Access narrows.

147
00:08:50,233 --> 00:08:54,533
Priestly movement continues where ordinary
sightlines stop.

148
00:08:54,533 --> 00:08:58,667
The Ark's reported path terminates in the
innermost room.

149
00:08:58,667 --> 00:09:01,767
Prayer is directed toward the building

150
00:09:01,767 --> 00:09:05,167
even while the prayer insists that God
cannot be contained by it.

151
00:09:06,633 --> 00:09:10,167
The same method controls sound and
atmosphere.

152
00:09:10,167 --> 00:09:14,900
We may hear movement, material and
distance as editorial design, but we

153
00:09:14,900 --> 00:09:18,867
cannot claim to recover the dedication's
acoustics.

154
00:09:18,867 --> 00:09:20,833
We may use scale markers and abstract

155
00:09:20,833 --> 00:09:26,333
crowd density, but not invented faces
performing a detailed rite.

156
00:09:26,333 --> 00:09:30,133
The experience is a diagram made
cinematic, not a time machine.

157
00:09:31,200 --> 00:09:34,333
This gives us an experiential distinction:

158
00:09:34,333 --> 00:09:36,400
The vision is a house for the divine name.

159
00:09:36,400 --> 00:09:40,467
The intended purpose is concentration, of

160
00:09:40,467 --> 00:09:45,400
covenant memory, priestly service,
sacrifice, assembly and prayer.

161
00:09:45,400 --> 00:09:50,333
The reported use is a sequence of
movements and actions narrated by Kings.

162
00:09:50,333 --> 00:09:54,667
None of those is the same as direct
archaeological observation.

163
00:09:54,667 --> 00:09:59,667
But together they explain why these rooms
mattered more than their dimensions.

164
00:10:02,500 --> 00:10:05,233
Modern reconstructions usually freeze the
Temple on one perfect day.

165
00:10:05,233 --> 00:10:06,500
The biblical narrative does not.

166
00:10:10,333 --> 00:10:12,800
Second Kings describes money collected for

167
00:10:12,800 --> 00:10:16,700
repairs and craftsmen working on the
house.

168
00:10:16,700 --> 00:10:18,900
It later reports an altar changed under

169
00:10:18,900 --> 00:10:23,933
King Ahaz and arrangements moved within
the Temple complex.

170
00:10:23,933 --> 00:10:26,067
Under Josiah, the text describes cult

171
00:10:26,067 --> 00:10:28,700
objects removed and destroyed during a
reform.

172
00:10:29,900 --> 00:10:32,367
These reports are not excavated repair
layers.

173
00:10:32,367 --> 00:10:35,167
They are textual claims about a building

174
00:10:35,167 --> 00:10:38,100
that was maintained, altered and
contested.

175
00:10:39,267 --> 00:10:43,233
That distinction adds drama without
manufacturing it.

176
00:10:43,233 --> 00:10:44,367
A repair reveals wear.

177
00:10:44,367 --> 00:10:47,067
A moved altar reveals authority.

178
00:10:47,067 --> 00:10:51,533
A removal reveals conflict over what
belonged in the sacred precinct.

179
00:10:51,533 --> 00:10:57,233
The building's meaning was not only
expressed through what entered it, but

180
00:10:57,233 --> 00:10:59,667
through what later rulers changed or took
away.

181
00:11:00,833 --> 00:11:06,000
That matters because "What did the Temple
look like?" is missing a date.

182
00:11:06,000 --> 00:11:07,233
At construction?

183
00:11:07,233 --> 00:11:08,467
At dedication?

184
00:11:08,467 --> 00:11:09,867
After repair?

185
00:11:09,867 --> 00:11:10,733
After a new altar?

186
00:11:10,733 --> 00:11:12,533
Before destruction?

187
00:11:13,667 --> 00:11:18,367
The most honest reconstruction may need
several states, not one timeless model.

188
00:11:18,367 --> 00:11:24,200
Original form, reported modification and
later removal should not be silently

189
00:11:24,200 --> 00:11:26,600
compressed into a single beautiful
interior.

190
00:11:27,800 --> 00:11:30,267
The Temple of the narrative is not a still
image.

191
00:11:30,267 --> 00:11:32,933
It is a building with a biography.

192
00:11:35,933 --> 00:11:40,767
Now we leave Jerusalem, not because other
temples are substitutes, but because

193
00:11:40,767 --> 00:11:43,533
comparison can reveal what was regionally
possible.

194
00:11:44,633 --> 00:11:49,800
At Tel Moza, west of Jerusalem,
archaeologists uncovered a Judahite temple

195
00:11:49,800 --> 00:11:53,667
complex with a longitudinal arrangement
and multiple phases.

196
00:11:53,667 --> 00:11:56,533
It is direct Evidence for Tel Moza.

197
00:11:56,533 --> 00:12:00,500
It is not a surviving plan of Solomon's
Temple.

198
00:12:00,767 --> 00:12:03,933
Tel Moza matters because it can challenge
our expectations.

199
00:12:03,933 --> 00:12:10,033
It is material Evidence for a sanctuary in
Judah that developed through phases.

200
00:12:10,033 --> 00:12:15,633
In our controlled record, Jerusalem enters
this comparison through Text.

201
00:12:15,633 --> 00:12:17,167
The site and the text widen the

202
00:12:17,167 --> 00:12:21,433
possibilities, but they do not become the
same kind of evidence.

203
00:12:22,667 --> 00:12:28,233
Farther north, at Tell Tayinat in modern
Turkey, excavators uncovered a temple with

204
00:12:28,233 --> 00:12:32,233
an entrance between projecting walls and a
long sequence of rooms.

205
00:12:32,233 --> 00:12:37,233
It belongs to a different site, polity and
history.

206
00:12:37,233 --> 00:12:38,833
It too was altered over time.

207
00:12:39,933 --> 00:12:42,133
When those buildings are placed beside the

208
00:12:42,133 --> 00:12:46,867
textual skeleton from Kings, a broad
family becomes plausible:

209
00:12:46,867 --> 00:12:51,633
an approach leading through differentiated
spaces toward a more restricted interior.

210
00:12:52,933 --> 00:12:55,800
But comparison is not tracing paper.

211
00:12:55,800 --> 00:13:01,133
A feature found at Tel Moza does not
automatically belong in Jerusalem.

212
00:13:01,133 --> 00:13:06,400
A facade from Tayinat cannot be copied
south and labelled biblical.

213
00:13:06,400 --> 00:13:09,067
Similarity supports a family of
possibilities;

214
00:13:09,067 --> 00:13:11,867
difference warns us how many local choices
remain.

215
00:13:13,100 --> 00:13:15,067
This is also where chronology becomes
sensitive.

216
00:13:15,067 --> 00:13:17,433
The building is traditionally associated

217
00:13:17,433 --> 00:13:21,333
with Solomon and conventionally placed in
the tenth century BCE, but the attribution

218
00:13:21,333 --> 00:13:25,333
and the material picture of Jerusalem in
that period remain debated.

219
00:13:25,333 --> 00:13:28,133
Our model cannot settle that argument by
looking convincing.

220
00:13:29,333 --> 00:13:34,900
Archaeology gives the reconstruction
resistance.

221
00:13:34,900 --> 00:13:39,267
It tells the image where it must slow
down.

222
00:13:42,267 --> 00:13:45,767
Second Kings reports the end as an
inventory in reverse.

223
00:13:46,367 --> 00:13:48,900
Bronze objects are removed.

224
00:13:48,900 --> 00:13:51,800
The great basin and stands are broken up.

225
00:13:51,800 --> 00:13:53,633
The house is burned.

226
00:13:53,633 --> 00:13:56,867
Jerusalem's walls are broken.

227
00:13:56,867 --> 00:14:01,833
Modern historical overviews conventionally
place this destruction in 586 BCE.

228
00:14:02,933 --> 00:14:06,533
The loss is more than the disappearance of
a building.

229
00:14:06,533 --> 00:14:08,867
Once the structure is gone, later readers

230
00:14:08,867 --> 00:14:12,333
inherit descriptions without the thing
described.

231
00:14:12,333 --> 00:14:14,267
Every model must bridge that distance.

232
00:14:15,167 --> 00:14:19,300
An 1883 model now held by the Metropolitan
Museum makes the problem visible.

233
00:14:19,300 --> 00:14:22,467
It was built from biblical description,

234
00:14:22,467 --> 00:14:27,100
yet its maker still had to choose a roof,
massing and complete exterior.

235
00:14:27,100 --> 00:14:31,167
The model is valuable, not as Evidence for

236
00:14:31,167 --> 00:14:34,967
ancient Jerusalem, but as evidence of
reconstruction itself.

237
00:14:36,033 --> 00:14:40,000
Digital models make the same choices
faster and hide them more easily.

238
00:14:40,000 --> 00:14:43,167
Texture can turn a guess into apparent
age.

239
00:14:43,167 --> 00:14:47,267
Cinematic light can make an invented
doorway feel discovered.

240
00:14:47,267 --> 00:14:51,967
A smooth camera move can imply that unseen
sides of a building are known.

241
00:14:51,967 --> 00:14:56,200
Visual excellence therefore raises the
burden of disclosure;

242
00:14:56,200 --> 00:14:57,900
it does not lower it.

243
00:14:59,267 --> 00:15:01,533
So let us inspect our own finished image.

244
00:15:02,300 --> 00:15:07,933
The long proportions, porch, hall, inner
sanctuary, material vocabulary, named

245
00:15:07,933 --> 00:15:11,167
columns and furnishing inventory come from
Text.

246
00:15:12,400 --> 00:15:16,400
The broad regional family gains
plausibility from Evidence at other sites.

247
00:15:17,267 --> 00:15:23,133
The approach, lighting, exact surfaces,
object forms and many spatial connections

248
00:15:23,133 --> 00:15:27,300
are Inference, useful choices, not
recovered facts.

249
00:15:28,367 --> 00:15:35,167
The facade, roof, window solution, precise
setting, exact colour and much of the

250
00:15:35,167 --> 00:15:39,033
building's external life remain Disputed
or Unknown.

251
00:15:40,300 --> 00:15:42,567
Now remove everything the record has not
earned.

252
00:15:43,333 --> 00:15:45,167
The result is incomplete, but it is not
empty.

253
00:15:45,567 --> 00:15:47,867
Place the layers back one at a time.

254
00:15:47,867 --> 00:15:49,300
The textual skeleton returns first.

255
00:15:49,300 --> 00:15:51,500
Then the named materials and objects.

256
00:15:51,500 --> 00:15:53,767
Then the reported paths and functions.

257
00:15:53,767 --> 00:15:56,533
Then the regional comparisons, visibly
separated.

258
00:15:56,533 --> 00:15:58,800
Inference can restore atmosphere and

259
00:15:58,800 --> 00:16:01,500
spatial continuity, but it enters last and
remains removable.

260
00:16:02,533 --> 00:16:05,600
We can responsibly recover a narrow,
layered sanctuary;

261
00:16:05,600 --> 00:16:10,133
a progression from approach to restricted
interior;

262
00:16:10,133 --> 00:16:14,333
a rich textual world of wood, metal,
carving and furnishings;

263
00:16:14,333 --> 00:16:16,300
and a narrative in which the building

264
00:16:16,300 --> 00:16:21,133
focused public memory, priestly service,
sacrifice and prayer.

265
00:16:21,133 --> 00:16:24,167
We can see that it changed, that it was

266
00:16:24,167 --> 00:16:29,467
lost, and that every later reconstruction
chooses how to fill the silence.

267
00:16:30,433 --> 00:16:35,533
That is what Solomon's Temple can look
like when the evidence remains visible:

268
00:16:35,533 --> 00:16:38,633
not one final answer, but the closest

269
00:16:38,633 --> 00:16:42,133
picture we can defend, and a map of
everything still beyond it.

270
00:16:42,967 --> 00:16:45,133
This is the first investigation in The
Stone Record:

271
00:16:45,133 --> 00:16:46,367
a series about the buildings, places and

272
00:16:46,367 --> 00:16:49,333
objects that history remembers more
completely than the evidence allows.

273
00:16:50,833 --> 00:17:06,533
Next, we will take another famous image
apart, and rebuild it from the record.