Rebuilding The Renaissance

In 1651, with the help of the niece of Pope Innocent X, Bernini was able to sneak his design for the “Fountain of the Four Rivers” into the Pamphilj Palace. When Innocent saw it, he realized that despite being excluded from the competition, Bernini was clearly Rome’s greatest artist and deserved the commission for the fountain.  

Once the site of an ancient stadium used for athletics (“agones”), the Piazza Navona is arguably Rome’s most famous piazza. It was renovated during the reign of Pope Innocent X in the middle of the 17th century and contains some of Rome’s most spectacular monuments such as Bernini’s “Fountain of the Four Rivers.”

The central sculpture of the Coronaro Chapel in Santa Maria della Vittoria in Rome, Italy, is one of history’s greatest statues. Bernini depicts the ecstatic heavenly experience of the Spanish nun, which is described in vivid detail in St. Teresa’s autobiography.

In 1647, Gian Lorenzo Bernini was commissioned by Cardinal Federigo Coronaro to design a funerary chapel in the church of Santa Maria della Vittoria in Rome, Italy. While the actual sculpture of the saint’s ecstatic experience is simply breathtaking, its architectural context is also magnificent. For the first time in his career, Bernini combines painting, sculpture, architecture, and stained glass to produce a milestone “composto” work that became a common theme in Baroque art.

Begun in 1645, one year after the death of his great patron Pope Urban VIII, the unfinished “Truth Unveiled by Time” is perhaps Bernini’s most personal statue. He was carving it for himself as a visual expression of vindication against the slander against him by his rivals for his earlier mishap on the facade of St. Peter’s.

Although commissioned in 1627, at the height of Bernini’s involvement at St. Peter’s, Bernini did not complete the tomb of Pope Urban VIII until 3 years after the pope’s death. Inspired by Michelangelo’s tombs in the New Sacristy in Florence, Italy, the tomb of Urban VIII was also the first sculptural work into which Bernini added color.

The spectacular “Triton Fountain” was carved by Gian Lorenzo Bernini in 1642 for Pope Urban VIII for the piazza named after him – the Piazza Barberini – in the heart of Rome. Made of travertine stone, the fountain depicts the sea god kneeling upon a shell blowing into a conch out of which water projects. The base of the statue consists of four rather scary-looking dolphins whose tails entwine the papal keys and Barberini coat of arms, which is a shield with three bumble bees on it.

Celebrating my 300th episode by answering your questions! From why we call him Titian in English instead of Tiziano to the influence of Donatello on Masaccio to why I dedicated so many podcasts to Caravaggio to the “Venus of the Beautiful Buttocks” to St. Peter’s feet, and much, much more – this episode answers the very questions that you ask me about the great art, artists, and history of the Italian Renaissance!

In 1637, Pope Urban VIII decided to let his superstar artist, Gian Lorenzo Bernini realize a project that had been abandoned 25 years earlier – bell towers at either end of the façade of St. Peter’s in Rome. The project would end up being the greatest failure of Bernini’s long, illustrious career.

In 1627, Pope Urban VIII hired Carlo Maderno to design his new family palace in Rome. When Maderno died two years later, instead of assigning Maderno’s nephew, the visionary architect Francesco Borromini, as architect, the pope gave the job to Gian Lorenzo Bernini. This may have been the beginning of the famous rivalry between the two architects.

In 1624, Pope Urban VIII commissioned Gian Lorenzo Bernini to carve a statue of the early Christian saint, virgin, and martyr St. Bibiana. The result is one of Bernini’s most overlooked but by no means less beautiful statues.

Under the direction of Gian Lorenzo Bernini, head architect of St. Peter’s, a group of sculptors closely associated with him produced three spectacular statues for the crossing piers of the church. These statues represent the three other most important relics of the Vatican – the largest piece of the “True Cross,” the Veil of Veronica (Sudarium), and the skull of St. Andrew.

In 1627, Bernini became the head architect of St. Peter’s Basilica. His first project was to oversee the decoration of the great crossing piers of the church. Four different sculptors – including Bernini – each produced a large-scale sculpture of a saint. But it was Bernini’s 4m tall marble statue of “St. Longinus” that stole the show. Its dramatic gesture, expression and drapery theatrically portray the spiritual conversion of the Roman soldier at the foot of the cross after piercing Christ’s side with his lance.

Located directly in front of the high altar of St. Peter’s and below Bernini’s magnificent Baldacchino, Maderno’s “Confessio” is an architectural stage that allows the faithful to revere the remains of St. Peter.  It consists of a beautiful marble balustrade, nearly 100 perpetually burning oil lamps and a double staircase leading down to the chapel of St. Peter’s remains.

Commissioned in 1623 by Pope Urban VIII – whose coat of arms are ubiquitous throughout the monument - Bernini’s Baldacchino was his first large-scale project. Standing over 100ft. tall, the bronze structure marks the central point of the great Basilica of St. Peter over the tomb of the first pope in spectacular fashion.  

Gian Lorenzo Bernini carved his statue of “David” in 1623 in only 7 months, interrupting his work working on the “Apollo and Daphne” to do so.  His “David” shows the young shepherd boy in the act of casting the stone with an assortment of symbols surrounding him. Perhaps the most striking feature of the statue is the concentrated expression on its face which tradition maintains is a self-portrait of Bernini.

In 1622, at the age of 24, Gian Lorenzo Bernini began carving his most spectacular sculpture, the “Apollo and Daphne,” for Cardinal Scipione Borghese. The marble statue magically demonstrates the transformation of the nymph Daphne into a laurel tree to escape the advances of the god Apollo.

Located in the Borghese Gallery in Rome, Italy, and carved when Bernini was only 23 years old, the spectacular “Pluto and Persephone” depicts the Greek myth which explains the cyclical seasons. Pluto, the god of the underworld, abducts Persephone. Eventually forced to release her, Pluto tricks Persephone in eating magical pomegranate seeds that will force her to spend part of the year with him in the underworld.

Carved when Bernini was only 20 years old for the powerful cardinal-nephew Scipione Borghese, the “Aeneas, Anchises and Ascanius” demonstrated the extraordinary talent of the sculptor to the world.  Mesmerizing special effects transform stone into stretching, malleable flesh, and textures that you can almost feel with your eyes!

Born in Naples in 1598, the sculptor, painter and architect, Gian Lorenzo Bernini, showed signs of genius from a very early age. He produced some of history’s greatest sculptures, such as the “Apollo and Daphne” and the “Pluto and Persephone.” But he also blurred the lines between sculpture and architecture with massive works such as the “Baldacchino.” This podcast will trace the life and career of the greatest sculptor of the 17th century.

In 1608, the architect Carlo Maderno was commissioned by Pope Paul V to complete the Basilica of St. Peter by building its façade. That façade has been criticized for centuries for looking more like a palace façade than a church façade because of its emphasis on horizontality. This podcast explores the history and design of the of the most important church front in the world!

From Caravaggio’s courtesan models to the “Michelangelo” kitchen drawing going up for sale for €8M, to the restoration of Masaccio’s “Holy Trinity” and Brancacci Chapel frescoes, to my recommendations for art historical journals, to moving massive canvas paintings and much, much more – this episode answers the very questions that you ask me about the great art, artists, and history of the Italian Renaissance!

In the summer of 1610, allegedly after obtaining a papal pardon for his crime of murder, Caravaggio headed back to Rome. But he would never make it to Rome nor enjoy his reacquired freedom. Instead, he would die under rather mysterious circumstances in southern Tuscany.  This podcast explores the murky evidence and various conspiracy theories surrounding the artist’s death.

Located in the Palazzo Zevallos Stigliano in Naples, Caravaggio’s “Martyrdom of St. Ursula” is considered the great artist’s last painting. Depicting the moment when St. Ursula is shot at close range by an arrow and including a self-portrait of the artist in the background, the painting marks a return to Caravaggio’s earlier Roman style.

In the fall of 1609, shortly after returning to Naples in hopes of receiving a papal pardon, Caravaggio was ambushed by four men who severely disfigured his face. It was a few months later that Caravaggio painted the “Denial of St. Peter,” which was one of his last two paintings and that perhaps reflects the wounded condition of the artist.

Painted for the Capuchin fathers at the church of Santa Maria degli Angeli in Messina, Sicily, in 1609, Caravaggio’s “Adoration of the Shepherds” is a moving spiritual scene within an impoverished and dilapidated setting.

After spending some time in Siracusa, Sicily, Caravaggio – still on the run from the Knights of Malta - headed north to the town of Messina. There he painted another of his hauntingly beautiful late works, which, in this case, depicts Christ bringing Lazarus back from the dead. The disturbingly realistic figure of the dead Lazarus led to the popular belief that Caravaggio had exhumated a corpse to serve as his model.

After his daring escape from the island of Malta, Caravaggio went to Siracusa, Siscily. There he painted one of his most haunting works – the “Burial of St. Lucy.” An oppressive yellowish light illuminates the macabre burial of the early Christian martyr whose head almost looks detached from its body.

After having been invested into the Knights of Malta and producing two of his most beautiful paintings while he was on the island, Caravaggio finally seemed to have cleaned up his act. But, on the night of August 28, 1608, Caravaggio was involved in a near fatal assault on a superior officer and imprisoned. After a daring escape from Malta, Caravaggio now found himself a fugitive from justice twice over. Discover what went wrong in this episode!

While in Malta in 1608, Caravaggio painted one of his most sensational paintings – “The Beheading of St. John the Baptist.” Measuring 12ft. (3.7n) x 17ft. (5.2m), the massive oil on canvas work depicts the moment after the executioner had used his sword to decapitate the Baptist. We now see him reaching for his knife to complete the gruesome act, and perhaps even more gruesomely, Caravaggio has used the blood of the Baptist to add his own signature to the painting.

Caravaggio, still a fugitive from justice, left Naples for Malta in the second half of 1607 most likely because the sensational paintings he produced in Naples were drawing too much attention to him. When he arrived in Malta, he was inducted into the brotherhood and apparently changed his ways. One of the paintings that he produced while in Malta was his beautiful “Sleeping Cupid,” (today in the Pitti Palace in Florence, Italy) which reminded its patron of his vow of chastity.

Painted in 1607 while Caravaggio was in Naples, Italy, trying to elude the long arm of papal law for the murder he committed in Rome, the “Madonna of the Rosary” is Caravaggio’s most standard Baroque painting. While the patron is unknown, curiously, the painting went up for sale a few months after being completed perhaps indicating an unsatisfied client.

Located in the Capodimonte Museum in Naples, Italy, Caravaggio painted the “Flagellation” in 1607 while he was hiding out in Naples because he was wanted for murder in Rome. The “Flagellation” is dramatically sadistic scene of imminent torture set – like so many of Caravaggio’s paintings - in a dark shallow theatrical space.

When Caravaggio arrived in Naples as a fugitive on the run from papal justice in 1606, he immediately began to receive commissions. One of his first was for a charitable organization called the “Pio Monte della Misericordia.” This organization had just built a church with seven altars upon which seven separate paintings illustrating the “Seven Acts of Mercy” were to be placed. In true impetuous Caravaggio fashion, he produced a single beautiful painting that represented all seven acts!

From similar faces in the Scrovegni Chapel, to identifying Judas in Veronese’s “Feast in the House of Levi,” to the symbolic gestures of the apostles in Caravaggio’s “Supper at Emmaus,” to the “Isleworth Mona Lisa,” to my advice to a young person about life and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance – and the meaning of life!

Painted shortly after Caravaggio killed a man in Rome and was a fugitive from justice, the “David with the Head of Goliath” is today located in the Borghese Gallery in Rome, Italy. The painting was given to Cardinal Scipione Borghese in hopes that he could convince his uncle, Pope Paul V, to pardon Caravaggio who was wanted dead or alive.

Located in the Brera Gallery in Milan, Italy, Caravaggio’s 2nd “Supper at Emmaus” was painted in the immediate aftermath of Caravaggio’s murder of Ranuccio Tommasoni on the streets of Rome. A wounded Caravaggio was a fugitive from justice and hiding out from the authorities in the hills surrounding Rome when he painted his 2nd “Supper”.  The painting clearly reflects the dramatically changed circumstances of Caravaggio’s life and mark a turning point in his career.

O May 28, 1606, Caravaggio stabbed and killed a man named Ranuccio Tommasoni in Rome, allegedly over an unpaid wager. Discover the details of the homicide that changed Caravaggio’s life forever and turned him into a fugitive from justice.

In 1605, Caravaggio painted an image of St. Jerome for Cardinal Scipione Borghese, and the painting is still located in the Borghese Gallery in Rome, Italy. Caravaggio’s depiction of the Father of the Church is a very quiet and intimate one, where we see a scholar in a sparsely furnished room consumed with the enormous task of translating the Hebrew Bible into Latin.

Painted in 1605 for the chapel of the Papal grooms, known as “Palafrenieri,” in the new Basilica of St. Peter, Caravaggio’s painting was removed after only a few days because it was considered indecorous. The stark nudity of the Christ Child, the bulging breasts of the Virgin Mary (who was modeled from a well-known prostitute!) and the unflattering representation of St. Anne (patron saint of the grooms) were most likely the reasons the painting was thought to be inappropriate for the most important church in the Catholic world.

Located in the Pinacoteca of the Vatican Museums, Caravaggio’s “Deposition” was thought by many of his contemporaries to be the painter’s greatest work.  The dramatic representation of very real-looking biblical characters handling the dead body of Christ in a shallow, tenebrously-lit foreground space makes for a very moving visual narrative.

Commissioned in 1601 for a chapel in the Roman church of Santa Maria della Scala, Caravaggio’s “Death of the Virgin” was rejected by the Carmelite friars of the church. While some believe it was because of the stark and indecorous representation of the dead Virgin Mary, one of Caravaggio’s biographers suggests instead it was because Caravaggio used a well-known courtesan as his model for Mary.

Located in the Augustinian church of Sant ’Agostino in Rome, Italy, the “Madonna of Loreto” is one of Caravaggio’s most beautiful paintings. It was painted for the Cavalletti family in 1604 and depicts a barefoot Virgin Mary (who was modeled from a well-known prostitute) standing in a rundown contemporary Roman doorway carrying the Christ child who blesses two peasant pilgrims. The stark realism and lack of pretense made it very popular amongst the masses, who, according to one of Caravaggio’s biographers, “made a great cackle over it.”

In the summer of 1602, Caravaggio painted what one art historian described as “the most nakedly libidinous of the painter’s secular mythological works.” Employing the same model that he previously used for his “St. John the Baptist,” Caravaggio creates a disturbingly realistic sexual metaphor of the power of love. 

It was for one of his most important patrons, the fabulously wealthy banker, Vincenzo Giustiniani, that Caravaggio painted one of his most moving works – the “Incredulity of St. Thomas.” The skeptical apostle Thomas probes Christ’s wound with his finger in a disturbingly graphic way that only Caravaggio could represent.  

From the source of the canvases used for large Venetian paintings in the Renaissance, to the death and burial of Masaccio, to the tradition of Madonarri in the Renaissance, to the difference between chiaroscuro and tenebrism, and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

After the “Supper at Emmaus,” Caravaggio produced two more paintings for the Mattei brothers. The first was the unorthodox “St. John the Baptist” that today is in the Capitoline Museums in Rome and is a rather unabashed representation of a naked youth embracing a ram and lacking any conventional imagery.  The second painting is the dramatic “Taking of Christ,” which was thought lost for centuries before being rediscovered in 1990 in the dining hall of the house of Jesuit fathers in Dublin, Ireland.

Located in the National Gallery in London, Caravaggio’s “Supper at Emmaus” was painted in 1601 for the influential Cardinal Girolamo Mattei. The painting depicts the episode from the Gospel of Luke where two apostles dine with a traveler and realize to their astonishment that their companion is the resurrected Christ once he breaks bread.

The second painting that Caravaggio produced for the Cerasi Chapel in the church of Santa Maria del Popolo in Rome, Italy, depicts the dramatic conversion of St. Paul on the road to Damascus. While certainly inspired by Raphael’s and Michelangelo’s earlier interpretations of the same subject, Caravaggio has transformed St. Paul’s conversion into a deeply theatrical, spiritual, and intimate event.

Caravaggio’s interpretation of St. Peter’s particular martyrdom – crucifixion in an upside-down position – for the Cerasi Chapel in Santa Maria del Popolo in Rome, Italy, is a moving example of realism and physicality. Three executioners struggle to lift the burly fisherman who seems to embrace his death.

Located in the Augustinian church of Santa Maria del Popolo in Rome, Italy, the Cerasi Chapel contains two paintings by Caravaggio – the “Crucifixion of St. Peter” and the “Conversion of St. Paul.” The paintings were commissioned by Monsignor Tiberio Cerasi, who was the treasurer general of Pope Clement VIII, in 1600. Curiously, Cerasi had asked a different painter named Annibale Caracci to paint the altarpiece of the chapel, which is executed in stark contrast to Caravaggio’s style.

In 1602, Caravaggio signed his final contract with the Contarelli family to paint an altarpiece for their family chapel in the church of San Luigi dei Francesi in Rome, Italy. The first painting (now lost) that Caravaggio produced was rejected because it depicted St. Matthew as a rustic and rather simple looking figure. But the second version – which we say in the chapel today – is a triumph of Caravaggio’s realistic theatrical style.

The “Calling of St. Matthew” was the second of three paintings that Caravaggio executed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome, Italy. It depicts the dramatic moment when Christ called Matthew, the tax collector, to follow him in his mission. Caravaggio transforms a simple moment into a theatrical event set within a contemporary early 17th-century Roman setting.   

The first of three paintings that Caravaggio painted for the Contarelli Chapel in the official French church of Rome, San Luigi dei Francesi, the “Martyrdom of St. Matthew" was the artist’s first large scale painting.  It depicts the assassination of the saint and evangelist at high mass in a dramatic fashion that only Caravaggio could invent.

Only July 23, 1599, Caravaggio signed the contract with the heirs of Cardinal Matthieu Cointerel (“Contarelli” in Italian) to produce three paintings for their family chapel in the official French church of Rome called San Luigi dei Francesi. This episode examines the history of the church, chapel and commission surrounding Caravaggio’s great paintings.

This episode addresses three more of Caravaggio’s innovative early paintings in Rome, Italy. Each of the paintings treats conventional subjects in unconventional ways, including using well-known prostitutes as models for the Virgin Mary and Mary Magdalene, and introducing unprecedented violence into the Judith subject.

The Uffizi Gallery in Florence contains three paintings by Caravaggio. Two of them, the “Bacchus” and “The Medusa Shield” were sent by Cardinal Del Monte to Grand Duke Ferdinand de’ Medici, while the third, the “Sacrifice of Isaac,” was acquired later. All three paintings reflect Caravaggio’s unique and revolutionary painting style which incorporates shocking realism, violence, and the dramatic use of light and shadow.

After an inauspicious beginning to his artistic career in Rome, Caravaggio’s photorealistic style and “street” iconography began to draw the attention of some important patrons. The most important of the patrons was Cardinal Francesco Maria del Monte, whose patronage launched Caravaggio’s career. This episode will examine Caravaggio’s paintings and his entirely new approach to painting, which involved a close observation and faithful reproduction of nature and the introduction of non-traditional subjects.

Known as the “pittore maledetto” – or the “cursed painter”, Caravaggio not only revolutionized painting at the turn of the 16th and 17th centuries with his “hyper-realistic” style, but he also literally turned Rome on its head with his often-criminal behavior. Spending much of his time between brothels and taverns, Caravaggio’s love of the vulgar and violence became his primary artistic inspiration. His paintings would often reflect his sociopathic lifestyle, frequently depicting Christian subjects in completely inappropriate ways. This episode follows in the footsteps of the artist to recount his unique and entertaining biography.

From the water source of the Neptune Fountain in Florence, to the animal symbolism of the Nativity subject, to the restorations of Masacccio’s Brancacci Chapel and “Holy Trinity,” to how Leonardo’s notebook ended up in the Windsor collection, to the accuracy of historical fiction movie and television series dealing with the Renaissance and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

Left unfinished at this death in 1576, Titian’s “Pietà” was intended to serve as his funerary monument. Its extreme use of loose brushstroke and unconventional color combinations led one art historian to describe the painting as an example of “chromatic alchemy.”

Painted in the last year’s of Titian’s life, the “Crowning with Thorns” in Munich revisited a theme that he painted 30 years earlier in a painting today located in the Louvre in Paris. Examined side by side, there is perhaps no better way to demonstrate the dramatic evolution of Titian’s style to very loose and suggestive brushwork in the final stage of his career.

Painted around 1565, this exquisite painting exemplifies Titian’s later style with its loose brushstroke, sophisticated use of color, and delicate tonal transitions. The meaning of the painting is somewhat controversial as it does not fall into any traditional iconographical schemes and has consequently resulted in various scholarly theories being proposed.

In 1573, Paolo Veronese was commissioned by the Dominicans at the church of Saints Giovanni and Paolo in Venice to paint a “Last Supper” to replace an earlier version by Titian that had been destroyed by fire. The result was a massive image full of numerous figures engaged in a hedonistic celebration. Not surprisingly, a few months after completing the painting, the artist was called before the Holy Tribunal of Venice to answer to accusations of indecorous religious painting. Veronese was able to satisfy his inquisitors and save his painting by changing its subject to the “Feast in the House Levi.”

In 1562, Veronese was commissioned to paint a massive painting of the “Wedding Feast at Cana” to adorn the end wall of the refectory of the Benedictine monastery of San Giorgio in Venice, Italy. What he produced was an extraordinary impression of typical Venetian revelry in the late 16th century with more than 100 figures participating in the great feast.

Paolo Veronese is the third member of the great Venetian late Renaissance trio that also includes Titian and Tintoretto. The church of San Sebastiano in Venice was decorated over 15 years with paintings exclusively by Veronese and is a veritable shrine to the genius of this great painter.

This episode addresses the paintings in the second half of the Chapter Hall of the Scuola, which focus specifically on the theme of food with scenes of “Manna Falling from Heaven” and the “Last Supper.”

Once he completed his paintings for the Albergo, Tintoretto continued the decoration of the Scuola with a series of paintings for the Chapter Hall. These paintings are some of Tintoretto’s best and demonstrate his revolutionary approach to painting. 

Tintoretto’s paintings in the Albergo (board room) of the Scuola of San Rocco are dramatic representations of the Passion of Jesus Christ. From his tragic “Ecce Homo” all the way to his Hollywood-style “Crucifixion,” Tintoretto produced some of the most innovative and theatrical paintings of the Renaissance.

In 1564, the Scuola of San Rocco announced a competition for the commission for the ceiling paintings of the Albergo (board room) of their meeting house. True to his nature, Tintoretto surprised and outwitted all his competitors. Find out how in this episode!

The Scuola Grande of San Rocco in Venice, Italy, is the only active “scuola,” or confraternity, in the city. It has maintained its original appearance and magnificent decoration – nearly all of which was by Tintoretto - for the last five centuries. This podcast explores the history of the scuola and its importance to Venice.

From the original location and patron of Donatello’s “Mary Magdalene,”  to the influence of Giotto on Taddeo Gaddi, to the original meeting hall of the Florentine government, to the dome of St. Peter’s, to the authenticity of the recently discovered “Flaget Madonna” attributed by some to Raphael, and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

Stretching 120m in length with its walls covered entirely in 16th century maps of various Italian city states, principalities, and islands, the Gallery of the Maps is one of the most spectacular spaces in the Vatican Museums.

Still located in the Loggia dei Lanzi where it was installed in 1583, the “Rape of the Sabine” was produced for Grand Duke Cosimo I de’ Medici. While the group of three figures may seem like a fitting representation of the mythological event where Roman men took Sabine women as their wives, the statue was originally subject-less.

The dome frescoes of Florence Cathedral cover nearly an acre of dome surface, making it the world’s largest fresco. Begun by Giorgio Vasari in 1572 and completed by Federico Zuccari in 1579, the main subject of the fresco is the Last Judgment and incudes some strikingly graphic imagery in the Hell sections.

Commissioned by Duke Cosimo I de’ Medici for the marriage of his son Francesco to Johanna of Austria, the massive fountain occupies the northwestern corner of the Palazzo Vecchio. Portraying the duke as the god of the sea, the fountain imagery was intended to glorify the Medici dynasty, but was not well received by their subjects.

This painting is the last of six paintings that make up Titian’s extraordinary “Poesie” series for King Philip II of Spain. Of all six, it is in the worst state of conservation and went through major compositional changes while it was being painted. Nevertheless, the “Perseus and Andromeda” is an important work of beauty, innovation, and visual interpretation of a classical literary source. 

One of the greatest masterpieces of Italian Renaissance painting, Titian’s painting depicts the abduction of the nymph Europa by Jupiter, who has disguised himself as a bull. Titian employs all of his painterly skill to create a dazzling array of textures, colors, and images that coalesce into a hypnotically beautiful work of art. 

Part of Titian’s magnificent “Poesie” series which he painted for King Philp II of Spain in the 1550s, the “Diana and Callisto" represents the exposure of the pregnancy of the nymph Callisto who had been loved by Jupiter. 

The third of six paintings constituting Titian’s famous “Poesie” series for King Philip II of Spain, “Diana and Acteon” represents a mythological account of divine punishment. A hapless hunter named Acteon stumbles upon Diana, goddess of chastity and of the hunt, and is punished for violating her decency by being transformed into a stag and killed by his own hounds.

Part of Titian’s six mythological paintings for King Philip II of Spain known as the “Poesie,” the innovative and sensual “Venus and Adonis” was the most popular. We know this because some 30 versions of the painting exist today, all of which can be traced back to 2 main prime types – the Prado and the Farnese versions – both of which are discussed in this episode.

In 1544, Titian produced the first of at least six versions of the Danaë subject for Cardinal Alessandro Farnese, nephew of Pope Paul III. Shortly thereafter, a second version was painted and sent to King Phillip II of Spain. The immense popularity of Titian’s sensual painting style combined with the erotic nature of the subject made the “Danaë” one of the most famous paintings of Renaissance Europe. 

Titian’s six “poesie” – or “painted poems” – depict subjects from classical mythology and were painted for King Philip II of Spain. The paintings represent a landmark in the history of western art and exemplify the Venetian master’s late style that was characterized by dramatic subjects, sensual forms, and loose, almost “impressionistic” brushwork.

Another of the great canvases for the Scuola Grande of San Marco dramatically depicts the episode where the body of the evangelist was discovered. The dark painting is dominated by theatrical chiaroscuro and showcases unconventional characters and gestures.

Fourteen years after exploding onto the art scene in Venice, Tintoretto produced another dramatic work for the Scuola Grande of San Marco. The intense painting depicts the legendary story of two Venetian merchants stealing the body of St. Mark away from Alexandria in the 9th century.

The Venetian painter Tintoretto exploded onto the art scene in his native city with this large canvas depicting St. Mark rescuing one of his devotees from a horrific death.  With its dramatic proscenium characterized by strong foreshortening and dramatic spotlighting, as well as a surprising and daring representation of St. Mark, Tintoretto introduced a style of painting that Venice – or the world – had never seen.

Although he died in Rome, the nearly-89-year-old Michelangelo was buried in a tomb in the great Franciscan Basilica of Santa Croce in Florence, Italy. Discover the tomb monument that celebrates the genius of the divine artist in this episode. 

Michelangelo worked on the unfinished “Rondanini Pietà” (1552-1564) until the last days of his life. Tragic and frail in appearance, the sculpture is often interpreted as reflecting the fragile state of mind of an extraordinary artist in the twilight of his life. The “Rondanini Pietà” is on display at Sforza Castle in Milan, Italy.

At about 75 years of age, Michelangelo began carving his second “Pietà” statue. Michelangelo was clearly trying to up his game by carving a group of four figures from a single block of marble. But the most intriguing aspect of this statue is that the extensive visible damage was inflicted by Michelangelo himself, allegedly for his dissatisfaction with the work. This episode unpacks the complex personal history behind this wounded sculpture. 

At the ripe old age of 71, Michelangelo took over the direction of the most important building project in Europe – the Fabbrica of St. Peter’s Basilica. Michelangelo redesigned the great building and saw construction through to the base of the cupola. This project would occupy the last 17 years of his life and consume nearly all his creative energies. This episode examines Michelangelo’s role in the realization of the great basilica, as well as analyzing his revolutionary architectural style that paved the way for Baroque-style architecture in the next century.

Shortly after completing the “Conversion of St. Paul” fresco in the Pauline Chapel in the Apostolic Palace in the Vatican, the 70-year-old Michelangelo began his complimentary “Crucifixion of St. Peter.” While the image of St. Peter crucified in an upside-down position was quite common in Rome, it was unusual to see him in process of being hoisted upwards as Michelangelo depicted. This episode analyzes this late painting of Michelangelo and the various interpretations associated with it. 

Even before completing “The Last Judgment” in the Sistine Chapel, Pope Paul III had chosen Michelangelo to decorate the walls of his new namesake chapel – the Pauline Chapel. Used as an antechamber to the Sistine Chapel, the Pauline Chapel contains Michelangelo’s last two paintings. This episode discusses the history and function of the chapel, as well as the first of the two frescoes executed by a 67-year-old Michelangelo.

In 1545, the goldsmith Benvenuto Cellini was commissioned by Duke Cosimo I de’ Medici to create a large bronze statue of the Greek hero Perseus and Medusa. The resulting work was one of the most beautiful and famous of the Renaissance. This episode examines the history, style, and importance of Cellini’s bronze masterpiece.

From the type of snake that appears in Michelangelo’s “Last Judgment,” to the suspected poisoning of Pico dell Mirandola and Angelo Poliziano, to Lorenzo Lotto’s unorthodox “Annunciation,” to Brunelleschi’s role in the development of linear perspective, and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

This episode analyzes the extraordinary reading room of Michelangelo’s Laurentian Library in Florence, Italy. Faced with having to reduce the weight of the building, Michelangelo designed a type of structural cage into which he inserted layered walls, elegant architectural elements, and handsome furniture. His creative wood ceiling and terracotta floor designs also are part of the overall decorative scheme of this beautiful building. 

This episode analyzes Michelangelo’s visionary architectural design for the vestibule - better known as the “Ricetto” – of the Laurentian Library. Dominated by the famous staircase which Michelangelo claimed appeared to him in a dream, the space perfectly expresses Michelangelo’s radical new vision for Renaissance architecture. 

In 1524, the Medici Pope Clement VII asked Michelangelo to design and build a new library to house the extraordinary collection of manuscripts and books owned by the family. The logical location was the Medici-sponsored complex of San Lorenzo. This episode analyzes the construction history of the library and how Michelangelo once again applied his innovative ideas to architecture. 

Although the commission was originally given to Michelangelo in 1508, the eventual carving of the sculpture fell into the lesser hands of Baccio Bandinelli. Symbolic of the new authoritative Medici regime and rule over the city, the sculpture was a strong man image intended to warn Florentines of the consequences of revolt. It is also a prime example of the new Mannerist style which dominated Florentine art in the 16th century.

This final episode dedicated to Michelangelo’s great fresco on the altar wall of the Sistine Chapel addresses the controversy surrounding the explicit nudity in the painting. When formal protests by high-ranking figures in the papal court were made, Michelangelo responded by including one of their portraits in hell. We also discuss the eventual alterations made to the painting after Michelangelo’s death.

This episode analyzes the majestic composition and singular iconography of Michelangelo’s fresco on the altar wall of the Sistine Chapel. From the lack of any architectural elements to the use of ambiguous saint imagery, Michelangelo introduced a revolutionary and surprisingly modern way to represent a popular biblical subject.

To create a suitable surface for Michelangelo’s “Last Judgment,” major alterations were made to the altar wall of the Sistine Chapel. This episode examines those physical preparations, as well as the art that was lost in order to make way for Michelangelo’s great fresco. It also surveys earlier versions of the subject by artists such as Giotto and Pisano.

Twenty-four years after completing its ceiling, Michelangelo returned to the Sistine Chapel to paint its altar wall. His gigantic “Last Judgment” took five years to complete and scandalized Rome as many of its holy characters were depicted in the nude. This podcast examines the history of the commission of Michelangelo’s great fresco.

In 1531, Titian painted the incredibly sensuous image of Mary Magdalene for Duke Federico II of Mantua who, in turn, gifted it to the celebrated poetess Vittoria Colonna. By combining the two best-known versions of Mary Magdalene – prostitute and penitent – Titian produced a profound image of spiritual sublimation of the physical. 

Titian was the greatest Venetian painter of his age. His reputation and achievements in 16th-century Europe were rivaled only by Michelangelo. Venetian artists introduced their own particular style and vision into Renaissance art, as seen in the Venus of Urbino. Suddenly, female nudity and eroticism exploded onto the scene in a type of soft-core Renaissance pornography. This episode explores the unusual erotic iconography of the Venus of Urbino, and how it depicts a rather straight-forward visual voyeurism between subject and object.

Giulio Romano's "Room of the Giants" in the Palazzo Te is one of the most dramatic and unique pictorial cycles in history. Depicting the fall of the Titans to the Olympian gods, the colossal-scale figures, rounded corners, and illusionistic architecture create a veritable sense of virtual reality. It is a painting cycle with no beginning or end, where the spectator becomes part of the action, and the traditional subject-object relationship is destroyed. 

The Room of Psyche in the Palazzo Te in Mantua, Italy, is one of the most erotic pictorial cycles of the Renaissance. From the 9 ceiling paintings that depict the story of Cupid and Psyche, to the lunettes depicting the labors of Psyche, to the wall paintings depicting examples of divine and bestial love, as well as earthly and divine banquets celebrating the redemption of Psyche, the room is a veritable explosion of sensual and erotic imagery.  

This milestone celebrates the production of the 200th episode of the Rebuilding the Renaissance podcast. Looking back at the approximately two millennia that we have covered thus far, the various special guests who have appeared in the series, and the particularly important specific episodes, this episode not only retraces our steps, but also maps out the future of the podcast series. 

The pictorial decoration inside of the Palazzo Te in Mantua, Italy, is some of the most inventive and delightful imagery of the Italian Renaissance. From the Room of Ovid, with representations of episodes from the "Metamorphoses," to the Room of the Imprese, with its many coat of arms and playful supporting putti, to the Room of the Sun and Moon Chariots, with its exceptional  "di sotto in sù" perspective, to the Hall of the Horses with its many equestrian portraits of Gonzaga prize-winning horses and accompanying images of the labors of Hercules, This episode will begin to unpack the extraordinary decoration inside of the Palazzo Te.

The Palazzo Te (1526-1535) was both designed and decorated by the great Mannerist artist and pupil of Raphael, Giulio Romano.  Built for the Marquis-turned-Duke of Mantua, Federico II Gonzaga, every detail of the building was intended to delight the visitor. This episode explores the history and architecture of this extraordinary pleasure palace.

Located in the Borghese Gallery in Rome, Correggio's sensual painting of the amorous relationship between Jupiter and the daughter of the King of Argos is sublime. Based on the account in Ovid's "Metamorphoses,'' Correggio is able to transform a literary metaphor into an equally powerful and erotic visual metaphor. In 1827, the painting was acquired by Cammillo IV Borghese, husband of Paulina Bonaparte, during one of his many trips to Paris, and installed into the family's extraordinary art collection. 

Correggio’s breath-taking dome fresco in the dome of Parma cathedral depicts the Assumption of the Virgin (1526). Gigantic painted figures of the apostles stand below an explosion of heavenly clouds and hundreds of angels that create a celestial architecture upon which the Virgin Mary is assumed into heaven.  The dramatic energy of the painting is a clear harbinger of the great Baroque paintings of the following century.

Parma's National Gallery of Painting houses one of Italy's most important collections of medieval and Renaissance paintings. Amongst its treasures are several altarpieces by the great Correggio. This episode examines these extraordinary paintings and their expressive emotional power, which has inspired some to describe Correggio's work as "proto-Baroque."   

After decorating the apartment of a Benedictine abbess, Correggio was called by the nearby Benedictine monks of Parma to decorate their church of San Giovanni Evangelista. The most spectacular of the paintings is the illusionist dome fresco depicting Jesus and the Apostles in dramatic di sotto in sù perspective.

The Camera di San Paolo (1519) was Correggio’s first major commission in Parma. In the private quarters of a Benedictine abbess named Giovanna Piacenza, he executed a decorative fresco program filled with mythological and festive motifs. The particularly beautiful illusionistic ceiling decoration was a sort of a warm-up for the stunning domes he would paint in the following years. 

From medieval graffiti, Raphael suffering medical malpractice, Siena's many contrade, the damaged part of the Sistine Chapel ceiling, the four biblical rivers as symbols of the Evangelists, anatomical dissection in the ancient world - and much, much more - this episode answers the very questions that you asked me about the great art, artists and history of the Italian Renaissance.

Jacopo Pontormo's altarpiece for the Capponi Chapel in the church of Santa Felicità in Florence, Italy, is one of the most beautiful paintings of the Italian Renaissance. Yet, the subject matter of painting still confuses art historians as it does not fit in any traditional iconographic parameters. This episode unpacks Pontormo's great painting and the various theories that surround it.  

In 1525, Jacopo Pontormo, one of the greatest Mannerist painters of Florence, was commissioned to decorate the family chapel of Ludovico Capponi in the church of Santa Felicità. While the altarpiece is the chapel's most celebrated work, Pontormo also decorated its dome, pendentives and window wall with beautiful paintings. This episode  examines the history of the chapel and reconstructs its original decorative scheme. 

The art produced in Italy in the first half of the 16th century seemed to intentionally reject the principles of Renaissance art. Artists such as Pontormo, Rosso Fiorentino, Giulio Romano, Parmigianino, and Bronzino introduced their own particular styles to their works, creating what later art historians would term "Mannerism." This episode will unpack this controversial and often confusing movement, and explore its various expressions. 

With the death of Pope Leo X in 1521, Michelangelo was forced to abandon his work on the New Sacristy and to return to the unfinished tomb of Pope Julius II. It was, in fact, for the tomb that Michelangelo began work on the so-called "Slaves" today in the Accademia Gallery in Florence, Italy. Often incorrectly described as being intentionally unfinished, the sculptures reveal the artist's unique vision of the human form as well as his absolute mastery of the art of carving marble. 

This episode examines the extraordinary tomb of Lorenzo de' Medici in the New Sacristy. The allegorical figures of "Dawn" and "Dusk" are two of Michelangelo's most elegant statues, while the "Effigy of Lorenzo de' Medici" is a clear allusion to the Classical "thinker" pose. We also analyze how the sculptural groups interact with the general architectural program of the room. 

This episode examines the extraordinary tomb of Giuliano de' Medici in the New Sacristy. The allegorical figures of "Day" and "Night" are two of Michelangelo's most beautiful statues, while the "Effigy of Giuliano de' Medici" is a revolution in funerary statuary. 

While working on the facade project of San Lorenzo, Michelangelo undertook another architectural project for Medici Pope Leo X. Known as the New Sacristy, and located in the Medici Chapels in Florence, Italy, the space was intended to serve as a royal funerary space for the Pope's brother and nephew. This episode addresses the history of the space as well as the visionary architectural design conceived by Michelangelo as a type of stage for his extraordinary sculptures. 

In 1515, Michelangelo undertook his first architectural commission for the facade of the Medici church of San Lorenzo in Florence. For the project, he produced a large wooden model of the facade, today located in the Casa Buonarroti Museum in Florence, Italy. This episode examines the history around the commission as well as Michelangelo's extraordinary model and architectural vision. 

Although Leonardo’s Virgin, Child and St. Anne may have been commissioned as early as 1503, it was still in the artist’s studio in 1517 - two years before the artist died. The painting of St. John the Baptist is instead considered the master’s last known painting. This episode not only examines Leonardo’s final years and those few works that were produced during this period, but also the best-known controversial works attributed to him. There are, in fact, almost as many contested paintings attributed to Leonardo as there are certain attributions.  

From the evolution of Romanesque to Renaissance architecture, to urban tabernacles in Florence, to the identity of the apostles in Leonardo's "Last Supper," to Michelangelo's boxer nose, to Lorenzo Ghiberti potentially being insane - and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

Commissioned in 1516, four years before Raphael's premature death at the age of 37, by Cardinal Giulio de' Medici, the "Transfiguration" was Raphael's last great altarpiece. The painting is a sort of summation of Raphael's artistic evolution, and not only synthesizes the artistic styles of Leonardo da Vinci and Michelangelo, but is also a harbinger of the Tenebrist style of Caravaggio nearly a century later. 

This episode continues to explore the extraordinary painting decorations of Rome's seminal Renaissance suburban villa. From the zodiacal images that represent the patron's horoscope, to Sebastiano del Piombo's "Polyphemus," to one of Raphael's most beautiful paintings known as "The Galatea', and, finally, to the virtual-reality-like Hall of Perspectives, the extensive fresco decoration of the villa makes it one of the most impressive decorative complexes in the world.

The Villa Farnesina was the first Renaissance pleasure palace and belonged to the fabulously wealthy banker Agostino Chigi. The decorations of the palace delighted many a pope and international ruler. On one occasion, dinner was served on golden tableware that guests were invited to throw into the Tiber upon completing their meal. This episode explores the history and architecture of this extraordinary decorative complex; and how the erotic nature of the art clearly reflected the type of activity that took place within its walls.

The last of the apartments decorated by Raphael for Popes Julius II and Leo X was the Room of the Fire in the Borgo, painted between 1514-1517. Although largely executed by Raphael's student and friend Giulio Romano, the frescoes represent Raphael's mature period and were completed only 3 years before the artist's premature death in 1520. This episode will examine the style, iconography and history of the paintings in this extraordinary room with particular emphasis given to the homonymous fresco.

In 1511, after completing the decoration of the Stanza della Segnatura, Raphael began painting the walls of Pope Julius' private audience room. Named after its principal scene - The Expulsion of Heliodorus - the room contains four of Raphael's most beautiful paintings. This episode will explore the style, iconography and meaning of Raphael's paintings in the Room of Heliodorus. 

This is the final episode of a three-part series dedicated to Raphael's great fresco in the Vatican Museums. It addresses the extraordinary Classically-inspired architectural setting of the painting, as well as identifying the celebrated philosophical and scientific personages depicted. Lastly, this episode dismisses the conspiracy theory that the fresco is reflective of a failed plot on the part of Bramante and Raphael to humiliate Michelangelo. 

This episode explores the decorative context of Raphael's famous fresco. From Apollo on Mt. Parnassus, to the allegorical figures of the cardinal virtues, the extraordinary "Disputa", the paintings around the "School of Athens" are fundamental to its meaning. 

Although Raphael's fresco known as the "School of Athens" is the most celebrated painting of the Stanza della Segnatura, it is actually a part of a much larger program. This episode addresses the original function of the room, which was Pope Julius II's library, and how all of Raphael's paintings are in actuality part of a giant visual card catalog.

This episode examines the extraordinary career of one of the most important painters in history – Raphael Sanzio da Urbino – better known simply as “Raphael.” Along with Leonardo da Vinci and Michelangelo, Raphael heralded in the period known as the High Renaissance. Combining grace, elegance and beauty, Raphael defined the standard for idealized painting. 

From unfinished church facades, to postponed Palios, to Renaissance giraffes, to Mona Lisa's smile, to the building behind the Trevi Fountain - and much, much more - this episode answers the very questions that you asked me about the great art, artists and history of the Italian Renaissance.

The prophets and sibyls that flank the main scenes of the Sistine Chapel ceiling are some of Michelangelo's most impressive figures. Their dramatic poses, expressive, vibrant colors and powerful forms are both inspirational and frightening. Below and between them, Michelangelo filled the spandrels and lunettes with human caricatures, almost as if he were entertaining himself with the often comic and strange figures. This podcast examines these lesser discussed parts of the Sistine Chapel ceiling paintings, as well as the decade-long-controversial restoration of the ceiling.

The last three Genesis scenes of the Sistine Chapel ceiling demonstrate Michelangelo's extraordinary ability to represent complex subjects in incredibly effective ways. But they also reveal the divine artist's haste to complete the ceiling project. This episode closely examines the iconography, style and execution of these final frescoes and their role in the realization of the epic commission.

By the time Michelangelo reached the frescoes in the middle of the ceiling, he introduced a major stylistic change, due, most likely, to being able to see the frescoes from the ground. This episode examines the Adam and Eve scenes and how they reflect this stylistic change as well as revealing the major artistic influences on Michelangelo's paintings. Particular emphasis will be given to one of history's most famous paintings - The Creation of Man.

Painting an 8,000 sq. ft. fresco cycle onto the ceiling of a chapel must have been a daunting task even for an artist of the caliber of Michelangelo. This episode examines the process and order by which Michelangelo executed his frescoes, focusing specifically on the first three painted scenes that depict the stories of Noah and the corresponding prophet and sibyl figures.

Although the Sistine Chapel is the Catholic world's most important chapel since it hosts papal conclaves, the subject matter of the ceiling paintings is largely Old Testament mixed with pagan imagery. This episode unpacks the rich and complex iconography of the many paintings executed by Michelangelo on the Sistine Chapel ceiling in Vatican City. 

When Michelangelo signed the contract with Pope Julius II in 1508 to paint the Sistine Chapel Ceiling, little did he know the turmoil that awaited him. This first of several podcasts dedicated to the world's most famous ceiling will examine the circumstances behind the contract between artist and pope, and the initial steps taken by Michelangelo for the project. 

After 120 years of construction, the reign of 18 different popes, and the direction of 12 different architects, St. Peter’s Basilica was finally consecrated in 1626. Measuring more than two football fields in length, it was by far the largest church in Christendom, and a fitting monument to the burial place of the first pope. This episode explores the dramatic construction history of the great church and the architectural contributions of its various architects. 

When Michelangelo was called to Rome in 1506 by the Pope Julius II, it was to design and carve the mother of all tombs. Intended to stand four stories in height and directly over the tomb of St. Peter, and to accommodate 40 over-life-sized statues, it was a direct reflection of both the pope’s megalomaniacal tendencies and the artist’s overreaching ambition. The Sistine ceiling was the first of a series of interruptions to a project whose contract would be reworked three more times over nearly four decades of legal battles between the rock-star artist and the exasperated heirs of Pope Julius II. This podcast explores the history of this epic contractual contest that resulted in what Michelangelo’s earliest biographer described as “the tragedy of the tomb.”

Titian's two great altarpieces in the great Franciscan basilica of Venice known as the "Frari" marked a turning point in the artist's career. These were his first two public commissions and allowed all of Venice to appreciate the extraordinary talent of a young artist who was still only in his twenties. This episode explores the history, style, and patronage of the two great paintings and how they clearly demonstrate Titan's unique approach to painting. 

This episode examines one of the milestone masterpieces of Renaissance painting. Baffling art historians for centuries as regards its iconography, the early work by Titian is one of the treasures of the Borghese Gallery.

Notwithstanding that his life and artistic career were cut short by plague in 1510 while the artist was in his thirties, Giorgione revolutionized European painting by his introduction of enigmatic and unconventional iconography. This episode examines two of Giorgione's most important paintings, both of which are located in the Accademia Gallery in Venice. 

Carpaccio's extraordinary visual narrative of the life of St. Ursula is one of the most celebrated examples of cyclical Venetian Renaissance painting. Recently restored, the nine large canvases are now on display in the Accademia Gallery of Venice and present a vivid snapshot of life in Venice at the turn of the 15th and 16th centuries. This podcast will examine the entirety of the cycle and analyze the artistic style of one of the major artistic protagonists of the Venetian Renaissance.

At the end of the 15th century, large-scale-cyclical-narrative paintings became quite popular in Renaissance Venice. One of these cycles illustrates in spectacular fashion the legends of the relic of the True Cross that was owned by the Scuola Grande of St. John the Evangelist. This episode examines the three most important paintings of this cycle, which were executed by two of Venice's most important painters.

This episode examines the first great Venetian painting of the Renaissance. Although the Venetian school of painting appeared almost a full century after that of Florence, the extraordinary genius of Venetian painters such as Giovanni Bellini rapidly made it the major rival of central Italian Renaissance painting. 

From Botticelli and the Bonfires of the Vanities, to the extraordinary collection of artists' portraits and self-portraits in the Uffizi Gallleries, to the use of AI in art authentication, to Botticelli's $92M "Portrait of a Young Man with a Medal," to the Virgin Mary's thoughts in Michelangelo's Pietà, this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

This episode examines the only painting by Michelangelo in Florence, and one of only two finished paintings executed by the artist before he decorated the ceiling of the Sistine Chapel. In many ways the vibrant, expressive colors and sculptural plasticity of the figures in this painting anticipated the revolutionary style of the Sistine ceiling a few years later.

In 1504, Florence found its two greatest artists in the city at the same time. Not wanting to miss this rare opportunity to have them test their talents against each other, massive murals were commissioned from each in the great hall of Florence’s Palazzo Vecchio. This second part of a 2-part podcast will explore what we know about the great murals planned by both artists and that portion that was actually executed by Leonardo da Vinci. Finally, we shall discuss the search for the lost Leonardo that still continues today. 

In 1504, Florence found its two greatest artists in the city at the same time. Not wanting to miss this rare opportunity to have them test their talents against each other, massive murals were commissioned from each in the great hall of Florence’s Palazzo Vecchio. This first of a two-part series will examine the historical context of the commission and the subject matter of the paintings. 

When Leonardo began painting the portrait of Lisa Gherardini, wife of the wealthy cloth merchant Francesco del Giocondo, in 1503, little did he know just how much employment he would generate for future art historians. From theories concerning her enigmatic smile, to the painting being a self-portrait of Leonardo in drag, to her possibly being pregnant, just about everything that could possibly have been written about the Mona Lisa seems to have been written about her. In addition to analyzing the formal aspects of the painting, this episode also examines just why the painting is so famous. 

This episode is the third and final part of a three-part podcast on the world's most celebrated statue. From the lack of Goliath's head, to the sling and hard-to-see stone in David's hands, to the expressive body language of the statue, this podcast will examine the unique iconography and local civic value of The David.

This episode is the second of a three-part podcast on the world's most celebrated statue. From the original contract drawn up in 1463 - 12 years before Michelangelo was even born! - to Michelangelo's sculptural inheritance and eventual triumphant completion of the statue, to the city-wide commission convened to decide what to do with the great statue, this podcast will examine the history of the commission of The David. 

This episode is the first of three-part podcast on the world's most celebrated statue. From its original location in Piazza della Signoria, to its move in the 19th century to a newly built museum, to the centuries of erosion and damage that the sculpture has suffered, this podcast examines the provenance of the statue and its state of conservation.

The Pietà was Michelangelo’s first “number one hit.” At the ripe old age of 23, he produced one of the greatest statues of all time. The innocence, sensitivity, and technical virtuosity of this particular early work would never be achieved again in Michelangelo’s entire 72-year career. This podcast explores the imagery, meaning and tradition of the “Pietà” subject in art and why Michelangelo’s statue is the most famous interpretation of the subject.

Michelangelo arrived in Rome for the first time in 1496 at the age of 21. His first important patron was the fabulously wealthy Cardinal Riario who wanted the young sculptor to carve a statue of the Roman god of wine that he could pass off as an antique. Surprisingly, Riario did not accept the finished sculpture which ended up in the collection of another patron. This episode explores the history, iconography and importance of Michelangelo's earliest-known sculpture commission and why it may have indeed been rejected by its original patron.

From contemporary theories about Brunelleschi's dome, to Ghirlandaio's frescoes in Santa Trinita, to the abandoned design of semi-circular chapels on the outside of Santo Spirito, to Bernini's extraordinary early sculpture of Aeneas, this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

This episode explores two of Michelangelo's earliest known sculptures that were produced while the teenage sculptor was still part of the Medici household. The sculptures reflect the influence of Donatello on a young Michelangelo, but also the later sculptor's obsession with the male nude form. 

Michelangelo Buonarroti’s artistic career spanned more than seven decades, during which time he produced some of the most extraordinary works of art in human history. This episode will examine the early years of the artist from his birth through his apprenticeship to his earliest teachers and his sojourn in the home of Lorenzo "il Magnifico" de' Medici. 

This episode explores the extraordinary collection of Italian Renaissance paintings in Milan's most important painting museum, which houses masterpieces by Caravaggio, Raphael, Piero Della Francesca, Tintoretto, Bellini and Mantegna. 

This episode addresses the world's most expensive painting that sold for nearly a half billion dollars in 2017. Although the attribution to Leonardo da Vinci is not certain, the astonishing cost, murky provenance and uncertain current location of the painting have made it one of the most famous works of art in history. 

This episode examines one of the most unique decorative programs in history. A room in the Sforza Castle in Milan whose walls and vault are covered with illusionistic trees that form a natural pergola. We also discuss how Leonardo's expression of arboreal architecture has been brought back to life with the help of modern technology.

This is the second of a two-part episode on Leonardo da Vinci's "Last Supper" which is considered the first work of the High Renaissance. From the meticulously constructed linear perspective, to the theatrical gestures of the apostles, to the singular dramatic moment that Leonardo almost seemed to "capture" rather than "depict," we shall examine all aspects of one of the most extraordinary paintings in history.  

This episode will introduce Leonardo's famous work. From its location, to the rather complicated process of making arrangements to see it, to its poor state of conservation, discover the surprising reality behind one of the most famous paintings in the world.

This episode examines one of the most famous drawings in the world - Leonardo's "Vitruvian Man." From the meaning of the subject, to those artists who influenced Leonardo, to how the drawing has come to symbolize the historical period known as the Renaissance, we shall unpack the extraordinary image that put humanity back at the center of the universe.

This episode examines one of Leonardo da Vinci's most celebrated portraits, the subject of which was Cecilia Gallerani, mistress of Ludovico Sforza. In this beautiful portrait, today located in Krakow, Poland, Leonardo introduced further innovations to the genre of Italian portraiture particularly by figuring out how to bring the portrait to life.  

Duke Ludovico Sforza’s principal motivation for bringing Leonardo to Milan was most likely Leonardo’s experience in working with bronze. The duke was hoping to apply Leonardo’s experience and talent to the realization of a colossal equestrian monument in honor of his father Francesco Sforza. This episode examines the complex 20-year history of this never-realized monument.

From the disproportions in Botticelli's "Birth of Venus", to the origins of the name "Colosseum", to the original decoration on the altar wall of the Sistine Chapel, this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

This episode examines the exquisite Flemish masterpiece which was painted for a prominent Italian patron. Located in the Uffizi Galleries in Florence, Italy, the "Portinari Altarpiece" exhibits all those aspects typical of the early Flemish Renaissance period, but with an Italian twist to suit the patron's tastes. 

This episode examines one of the most important paintings of the early Renaissance, which is also known as the Montefeltro or Brera Altarpiece.  Painted between 1472-74, the painting was most likely commissioned to celebrate the birth of the son of the Duke of Urbino, and displays an extraordinary precision as regards the architecture and sublimely beautiful figures.  

This episode explores the architecture and history of one of the largest family palaces in Florence, which was built for the illustrious Strozzi family. After nearly a half century of exile for their failed attempt at exiling the Medici, the fabulously wealthy banker Filippo Strozzi was the first of his family to return to Florence. His palace was a very public statement that the Strozzi had returned!

In 1483, the Confraternity of the Immaculate Conception commissioned Leonardo da Vinci and Ambrogio and Evangelista de Predis to paint an altarpiece for their chapel in the church of San Francesco Grande in Milan. Due to a controversy regarding payment to the artists, it appears that the painting was never delivered. This episode will examine the controversy surrounding the two versions of the same subject – one in the Louvre, the other in the National Gallery in London.

From the characters in Duccio's and Leonardo's Last Suppers, to Vasari's "Lives of the Artists", to why it took so long for the Renaissance to begin, to Raphael's over-active sex life, this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

In 1482, Leonardo da Vinci sent a letter to the then regent of Milan, Ludovico Sforza, in hopes of landing the position of court artist of the duchy of Milan. This episode will examine this letter, which is essentially the resume of the great artist, and how someone like Leonardo would qualify himself for a place of employment!

For over 500 years it was believed that the brownish monochrome look of the Adoration was the work of Leonardo. That is, until Maurizio Seracini’s in-depth scientific analysis of 2001 proved beyond a doubt that this was not true. This exclusive interview will address the results of Seracini’s investigation, as well as the backlash of fierce opposition and accusations against these findings which have endured for the last two decades. 

In 1481, Leonardo began work on a major altarpiece for the church of San Donato a Scopeto. At the same time, he sent his resume to the ruler of Milan, Ludovico Sforza, in hopes of landing the position of court artist for that duchy. This episode examines Leonardo’s painting of the Adoration of the Magi - most likely left unfinished because of the artist's departure for Milan - and why much of what we see today may not be by the hand of Leonardo.  

This episode will examine Leonardo's groundbreaking portrait of a young Florentine woman named Ginevra de’ Benci, which is the only painting by the great Renaissance genius in the Americas. Exquisitely conserved, despite it being cut down, it is one of the earliest examples of a 3/4 frontal pose in Italian portraiture.

This episode will analyze Leonardo’s earliest known painting for the church of San Bartolomeo a Monte Oliveto, which he painted at only 20 years of age. Leonardo’s early works were clear indicators of this unique artistic vision and superlative talent. The Annunciation is not only stunningly beautiful, but also introduces two of Leonardo's signature innovations - sfumato and atmospheric perspective, clearly demonstrating his interest in the science of optics. 

This episode will attempt to unravel the mystery behind one of the world’s most famous paintings – the Birth of Venus by Botticelli. Was the artist's muse the legendary Simonetta Cattaneo Vespucci, who is still reputed to be the most beautiful woman of Renaissance Florence? Just who was this legendary woman, and what was her relationship to the great Renaissance painter? Find out in this episode that is dedicated to the Marilyn Monroe of the Renaissance.

The Birth of Venus is one of the world’s most famous paintings and depicts how Venus, the Roman goddess of love, came into being, This episode will examine the style, composition and symbolism of the painting, as well as discussing those factors that give the painting its timeless appeal.

When Botticelli painted the Primavera in the 1470s, he opened up a veritable Pandora’s Box. No longer would Renaissance artists be limited to simply dressing Christian saints in togas and sandals, they could now gradually introduce the very literature, philosophy and religion of the ancient Greco-Roman world into their own art. This episode unpacks Botticelli’s great allegorical painting by identifying its characters and their meaning.

This episode is the second part of a two-part episode about the extraordinary 15th-century Florentine artist who is best known as the master of Leonardo da Vinci. We examine Verrocchio's later sculptures such as the "Putto with a Dolphin", "Lady with a Primrose" and his "Equestrian Monument to Bartolomeo Colleoni" in Venice, Italy. We also discuss a painting by Verrrochio executed in collaboration with Leonardo da Vinci. 

This first part of a two-part episode examines the art and career of the extraordinary sculptor who is best known as the master of Leonardo da Vinci. Although often overshadowed by the notoriety of his pupil, Verrocchio  was one of the most significant sculptors in history.  He was also one of the most influential artists of the Renaissance as other of his pupils included Domenico Ghirlandaio and Pietro Perugino, who in turn were masters to Michelangelo and Raphael respectively.  

Kenneth Clark described Della Francesca’s painting as the “the greatest small painting in the world.” Much has been written about the enigmatic meaning of the work, including it serving as a metaphor for the fall of Constantinople. This episode examines the iconography of the famous painting and its various interpretations. 

This episode examines the extraordinary paintings in the second leg of the "Piero della Francesca Trail" in the Tuscan towns of San Sepolcro and Monterchi. From Piero's majestic "Madonna della Misericordia," to his iconic "Resurrection," and finally to his moving fresco of "The Madonna del Parto," learn about Piero's works in southeastern Tuscany, which are some of the most beautiful of the Italian Renaissance. 

This episode examines the extraordinary fresco cycle in the Basilica of San Francesco in Arezzo, Italy. Painted by Piero della Francesca beginning in 1452 in the high chapel of the church, the frescoes are one the most important painting cycles of the early Renaissance and one of the artist's best-known works. 

This episode examines Andrea Mantegna's extraordinary early frescoes in the Augustinian church of the Eremitani in Padua, Italy. Despite being largely destroyed by Allied bombs in March 1944, the paintings (which have been heavily reconstructed) are still considered some of the most important expressions of early Renaissance painting. 

This episode explores Donatello's extraordinary artistic production during his sojourn in Padua during the 1440s. From his milestone Equestrian Monument to Gattamelata, to his refined bronze Crucifix, to his 3-dimensional sculptural sacra conversazione and complex perspectival bronze relief sculptures adorning the high altar of the basilica, Donatello once again demonstrates his almost unlimited and unparalleled range of artistic expression.

This episode examines the two monumental equestrian frescoes by Paolo Uccello and Andrea del Castagno in Florence cathedral that represent two celebrated mercenary captains who had honorably served the Florentine Republic in the 14th and 15th centuries. These works represent two of the earliest Renaissance revivals of memorial equestrian imagery since Antiquity.

From the Crucifix in Santo Spirito attributed to Michelangelo, to ancient Roman building materials, to patronage in 15th-century Italy, to Raphael's sex life, this episode answers the very questions that you ask me about the great art and artists of the Italian Renaissance.

This episode examines the Camera degli Sposi (1465-1474), which is Andrea Mantegna’s most famous work.  Decorating the reception room of the Marquis of Mantua, Ludovico II Gonzaga, Mantegna created an incredibly vivid “picture” of life at a Renaissance court.  In addition to the various portraits of the royal family that Mantegna included in his fresco, he also captured the less "noble" elements of court life such as the dwarves/jesters and actual portraits of the royal dogs.

This episode examines the history and architecture of one of the milestone churches of the Renaissance that was designed by the great architect Leon Battista Alberti. Home to one Christianity's most important relics - the blood of Christ - the ruler of Mantua, Ludovico Gonzaga, wanted Alberti to design a Classically-inspired church that would be a fitting monument to such an important holy object. 

This episode examines the architectural style and history of Florence's only Renaissance-style church facade at the Basilica of Santa Maria Novella, which was designed by the architect Leon Battista. From its classically-inspired forms, to the abundance of heraldic symbolism of both the Rucellai and Medici families, all the way to the inscription celebrating the patron of the facade, the facade is a perfect reflection of the beautiful complexity of Renaissance Florence. 

This episode is the fourth and final episode of our examination of the construction history of Brunelleschi's great Basilica of Santo Spirito in Florence, Italy. We look specifically at the most sensational and well-known controversy concerning the building of the church regarding how many doors should have been incorporated into the facade of the church. A controversy that was brought all the way to Lorenzo il Magnifico de' Medici himself to resolve and that was finally decided by a city-wide plebiscite. 

This episode continues to examine the construction history of Brunelleschi's great Renaissance-style church. Based on extraordinarily detailed archival records regarding the construction of the church over nearly a decade, we are able to paint an incredibly vivid picture of how, literally, brick by brick and column by column the church was built. We also discuss some of the most important deviations made from Brunelleschi's original plan and identify those historical figures who were responsible for them.  

This episode continues to examine the construction history of Brunelleschi's great Renaissance basilica. Based on the findings from my book about the church, we will examine how the various chapel types and chapel sales  directly reflect the progress of construction at Santo Spirito. 

This episode explores the architecture and early building history of the Brunelleschi's great Renaissance church. By comparing the account of Brunelleschi's earliest biographer to the known extant archival documentation, it is clear that construction on the church began shortly before the architect's death. 

Join me in celebrating the 100th episode of my podcast by learning about all of the behind-the-scenes trials, tribulations, research, fortuitous moments, key figures, failures and triumphs that were part of the realization of my book, which was published in September 2020. 

This episode examines one of the most moving and expressive sculptures in the history of art. Carved from white poplar wood, Donatello captures the meaning of ascetic spirituality by physically decimating his figure while still expressing an inner vitality in this extraordinarily modern-looking statue.

This episode examines those works in the Uffizi Gallery in Florence, Italy, that best express the principles of Early Renaissance style painting.  From the rigid perspectival constructions of Paolo Uccello, to the sensually beautiful madonnas of Fra Lippo Lippi, to the iconic portraits of the duke and duchess of Urbino, we trace the evolution of painting from the Gothic to the Renaissance world.  

This episode is the second part of my two-part interview with visionary entrepreneur, Nirav Tolia, co-founder of the social media giant Nextdoor. We argue that those principles that drive innovation and creativity in Silicon Valley today are very much the same ones that drove the cultural revolution in Florence five centuries ago.

This episode is the first part of a two-part interview with visionary entrepreneur, Nirav Tolia, co-founder of the social media giant Nextdoor. We discuss Nirav's motivation for spending a year in Florence, Italy, teaching a course to Stanford University students about the similarities between the technological revolution of Silicon Valley and the cultural revolution of Renaissance Florence. 

This episode examines the splendid artistic decoration of one of Florence's best hidden gems - the Chapel of the Magi inside of the Medici Palace. Full a sumptuous materials and decorations, the walls of the chapel were beautifully painted by Benozzo Gozzoli in 1459 depicting the voyage of the Magi and filled with contemporary portraits of the Medici and their allies.

This episode examines the history and architecture of the first Renaissance-style family palace in Florence, Italy. The Medici Palace was not only the home of the family, but also the seat of their political and financial power. Commissioned by Cosimo de' Medici, the palace was an integral part of the great man's "theory of magnificence."

This episode examines the rise to power and legacy of one the longest-lasting dynasties in history. From relatively modest beginnings, the Medici family became one of the most wealthy and powerful families of Renaissance Italy, as well as great patrons of the arts.

This episode analyzes one of the best-preserved and influential Renaissance paintings of the Last Supper. Located in the former refectory of a nunnery in Florence, Italy, the painting exhibits various traditional elements typical of the subject, but it also displays numerous innovations. 

This episode explores the sublime painting decoration of the great Early Renaissance painter Fra Angelico in the convent of San Marco. From his utilitarian paintings in the cloister, to the majestic Crucifixion in the chapterhouse, to his celebrated Annunciation and finally to the mystical frescoes in the dormitory cells, San Marco is a veritable shrine to the creativity of this great artist. 

This episode is the first part of a two-part episode that examines the history and architecture of the first-ever Renaissance style convent. San Marco, which has been described as the most beautiful convent in all of Italy, was designed by Michelozzo and entirely funded by Cosimo De'Medici.

This episode answers some of the questions asked directly by my listeners. From where the striping pattern on Tuscan churches comes from, to what kind of vegetal crown Donatello's bronze David wears, to the orientation of Michelangelo's New Sacristy, to angry looking figures in the Scrovegni Chapel, you can hear me answer your questions.

This episode is the second part of my two-part episode about Donatello's eclectic statue of David. It examines the unusual iconography of the statue as well as the particular homoerotic culture of Renaissance Florence. 

This episode is the first of a two-part episode that examines one of the most beautiful and controversial sculptures in history. In this first part, we exam the history, museum context, and unusual iconography of the sculpture. 

This episode is the second part of my two-part interview with celebrated jewelry designer Temple St. Clair where we learn how the beauty and traditions of Florence, Italy help shape her brilliant creations. 

This episode is the first of a two-part interview with world-renowned jewelry designer and good friend Temple St. Clair. Learn how the beauty, traditions and craftsmanship of Florence, Italy, played a major role in both the personal and professional life of this celebrated artist and entrepreneur. 

This episode is the second part of the two-part episode dedicated to Lorenzo Ghiberti's celebrated doors known as the "Gates of Paradise". In this second part, we look at each individual panel to examine its style, composition and iconography, where we discover Ghiberti was indeed a master visual storyteller. 

This episode examines the history and provenance of the world's most famous and beautiful doors - the so-called "Gates of Paradise" that were produced by Lorenzo Ghiberti between 1425-1452. Today, the Renaissance doors are one of the artistic gems of the Museo Dell'Opera del Duomo (Cathedral Museum) in Florence, Italy.

This episode examines two of the largest and most beautiful works of Early Renaissance sculpture in Florence, Italy - the Cantorie, or "choir lofts" in the Museo Dell'Opera del Duomo. Designed and carved respectively by Luca Della Robbia and Donatello, each work is a visual celebration of song and music.

This episode analyzes the mathematics involved in the creation of the first perspectival painting in history. Learn how geometry and algebra were not only part of the construction of the three-dimensional space, but also a surprising way to illustrate important theological doctrines.

This episode will discuss what might just be the most important painting in Florence - Masaccio's Holy Trinity in the church of Santa Maria Novella in Florence, Italy. Learn how this fresco, which was the first in history to apply linear perspective, was lost in the 16th Century when the church was "Renaissanced" by Giorgio Vasari and then rediscovered in the 19h Century.  

This is the second part of my two-part episode about Brunelleschi and the construction of the dome of Florence cathedral. Learn how the great architect out-smarted his competitors, won the contract for and then realized the world's largest dome in only 16 years. Then discover the secrets of how Brunelleschi was able to pull off such an extraordinary engineering feat!

This episode examines the history leading up to the construction of Brunelleschi's great cupola. From the structural design of the tribunes, to the decision to add a drum, to the dilemma of wooden centering, what happened before Brunelleschi began building determined much of what he would need to do in order to build the world's largest dome.

From Donatello's non-existent competition panel, to my favorite work of art by Michelangelo, to laser beams in art, this episode answers the very questions that you asked me about the great art of the Italian Renaissance.

This episode is the second part of a two-part episode about the Brancacci Chapel in Florence, Italy. It examines the paintings inside of the Brancacci Chapel and discusses the authorship of each, and those attributes that made Masaccio one of the most revolutionary painters in history. 

This episode explores the history and several key paintings of the revolutionary Brancacci Chapel in the church of Santa Maria Del Carmine in Florence, Italy. There is no better place in the world in which to illustrate the evolution of late Gothic to Early Renaissance than this chapel. It was here that the young genius named Masaccio introduced what today we define as Renaissance painting. 

In part 2 of my conversation with best-selling author Ross King, we discuss one of his later works entitled Leonardo and the Last Supper, as well as his upcoming publication The Bookseller of Florence, about famous Renaissance book merchant Vespasiano da Bisticci.

This episode is the first of a two-part interview with best-selling author Ross King, author of Brunelleschi's Dome, Michelangelo and the Pope's Ceiling and other works addressing Renaissance subject matter. 

This episode examines the construction history and architecture of the first Renaissance-style church ever built - the Basilica of San Lorenzo in Florence, Italy - which was designed by the great Filippo Brunelleschi. From modular systems, to the use of classical architectural vocabulary, to harmony and proportion, Brunelleschi made the old new again when he designed the church that ushered in the Renaissance of architecture. 

This episode examines the first Renaissance-style interior space ever built, which is known as the "Old Sacristy" in San Lorenzo in Florence. Designed by the great Filippo Brunelleschi, the revolutionary space also served as the funerary chapel of the patriarch of the Medici family - Giovanni Di Bicci. 

This episode examines the names and meanings of various Classical architectural structures and elements that were employed by Renaissance architects from Brunelleschi to Michelangelo. 

This episode is the second part of my interview with celebrated Hollywood actor Dr. Peter Weller, where we discuss the subject of his doctorate, Italian food, and his acting career. Find out how the Renaissance man still finds time for acting and directing!

This episode is the first of a two-part interview with the famous actor Peter Weller, who has starred in over 70 films and television programs, but who also holds a doctorate in Renaissance art history. Find out how Robocop became a veritable Renaissance man. 

This episode examines the early part of Brunelleschi's career and his first major architectural project. His revival of a Classical architectural vocabulary and logic revolutionized architecture in the late medieval European world, and would establish this new style as the foundation for Italian architecture for centuries after.

This episode explores how Donatello revolutionized sculpture in the early 15th century by using three of his most famous works to illustrate his new visual language of naturalism.

This episode explores the history and architecture of Venice's most important thoroughfare and its surrounding churches and palaces, as well as one of the world's most celebrated bridges - the Rialto - that has spanned the Grand Canal for nearly the last 1,000 years. 

This episode examines the history, architecture and importance of Italy's most unique church. An example of Italo-Byzantine architecture, St. Mark's Basilica in Venice, Italy, was built primarily to house the relics of the evangelist and to serve as the private chapel of the Doge. The result was a stunning and eclectic mix of styles and materials.

This episode answers our third round of general questions. From dinner with historical personages, to my favorite restaurants and dishes in Italy, to saving Venice and its art, all the way down to how much "Leonardo" there is in the "Salvator Mundi" painting, hear me voice your questions and then provide you with answers.

This episode examines Donatello's sculptural representation of the St. George subject for the Sword and Armor Guild at the church of Orsanmichele, although both sculpture and niche are in the Bargello Museum today. Not only was this first sculpture of the Renaissance to depict a subject in a narrative context, it also largely inspired Michelangelo's David nearly a century later. 

This episode examines Donatello's seminal heroic interpretation of the "David" subject in sculpture. Removed from its original context at the Duomo and inserted into a civic setting at the Palazzo Vecchio, the statue became the symbol of divine protection for the Florentine Republic. 

This episode examines the statues that were produced by the likes of Arnolfo Di Cambio, Nanni Di Banco and Donatello and adorned the original facade of Florence cathedral. These extraordinary statues reflect the transition from the International Gothic to the Early Renaissance style. 

This episode explores the history of the world's most unique city and the organization of the longest lasting republic of all time. From the original refugees who settled on the islands in the ancient world, to the theft of the body of St. Mark, to the formation of a "perfect government", to the evolution of the Venetian Scuola, we shall examine those key factors that transformed a bunch of marshy islands into La Serenissima.

This episode explores the paintings in the Uffizi Gallery collection that best embody the principles of that style that marks the transition between the Gothic and Renaissance worlds, known as the "International Gothic Style." This style combines the elegance and elaborateness of Gothic art with the more naturalistic and spontaneous motifs of the Early Renaissance. 

This episode examines the "North Doors" of Florence Baptistry that were produced by Lorenzo Ghiberti between 1403-1423 as a result of the famous competition of 1401 won by the same artist. The same International Gothic Style attributes that characterize Ghiberti's earlier competition panel, and which were the very reason that he won the competition, are prevalent  throughout the 28 panels that make up these North Doors as well. 

This episode examines the event that sparked the Renaissance - the famous competition between Lorenzo Ghiberti and Filippo Brunelleschi in 1401 for the contract for a set of bronze doors of Florence Baptistry. These two Renaissance giants produced bronze relief panels depicting the Old Testament subject of the sacrifice of Isaac in radically different ways, and the result of the competition determined the professional path that each artist would follow.

This episode will answer many of the questions proposed by my listeners. From how the frescoes on the dome of Florence cathedral were executed, to how the artist Caravaggio died, to the Kenneth Clark vs. John Berger controversy - and much more - I respond directly to your very own questions.

This episode examines the beautiful pictorial decorations in the 14th-century Strozzi Chapel in Santa Maria Novella in Florence, Italy by the brothers Andrea (better known as "Orcagna") and Nardo di Cione. Almost perfectly preserved after eight centuries, the chapel also offers the extraordinary opportunity to see just exactly how these ecclesiastical spaces were used in their own day.

This episode examines the sometimes violent, often bizarre, and always fascinating representations of saints and martyrs in Italian medieval and Renaissance art. From St. Sebastian's arrows to St. Lucy's eyeballs to St. Lawrence's barbecue grill, we shall discuss saint imagery and its symbolism.

This episode examines Nicola Pisano's great sculptural pulpit in the cathedral in Siena, Italy. Carved five years after his pulpit in Pisa Baptistry, this work is much more Gothic in style, reflecting its highly decorative architectural surroundings. Yet, Pisano's work is still full of innovation and invention as he strived to modernize medieval sculpture by introducing drama, movement, naturalism and emotion.

This episode examines the medieval paintings in the extraordinary collection of paintings in the Uffizi Gallery in Florence, Italy. Works by Giotto, Simone Martini and Ambrogio Lorenzetti exemplify the move towards naturalism in this proto-Renaissance moment.

This milestone episode celebrates the production of my 50th episode by telling you more about who I am, what I do, why I do it and I how I got there from both a personal and professional perspective.

This holiday episode explores the history and traditions of the world's most popular holiday - Christmas! From St. Nick to Jesus' infancy to candy canes, we discuss how both pagan and Christian traditions magically coalesced into the holiday that we celebrate today.

This episode explores the history and examines the architecture of one of the most unique churches of medieval Europe. Consecrated in 1018 CE, the thousand-year-old Romanesque church of San Miniato in Florence, Italy houses an eclectic mix of artistic styles inside of a distinctly mysterious and mystical atmosphere.

This episode examines one of the most extraordinary sculptures of the Middle Ages. Nicola Pisano revolutionized sculpture in the 13th century by introducing drama, psychology, classical motifs, anatomy and movement. Although few works exist by the great sculptor, he would inspire later masters such as Donatello and Michelangelo.

This episode explores the great Romanesque architectural monuments of the Tuscan city of Pisa. From its majestic marble cathedral, to its elegant circular baptistry, to what I like to call the greatest architectural disaster since Babylon – the leaning tower, Pisa is home to some of the greatest architecture of the Middle Ages.

This episode will examine the breathtaking mosaics that decorate the ceiling of Florence Baptistry. Epic in scale and subject matter, and excruciatingly meticulous in execution, the mosaics represent one of the greatest works of art of medieval Europe and may have inspired both Dante and Michelangelo.

This episode explores the history and architecture of what is, in local tradition, the most important monument in Florence, Italy. Nearly a millennium old, the Romanesque building has always been the heart of Florentine society and tradition.

This episode will answer the questions posed by various listeners on our social media platforms. From what sparked my own interest in the Renaissance, to whether Giotto or Michelangelo was more influential in shaping Renaissance art, all the way to Michelangelo's sexuality, no question is left unanswered.

This episode will examine the technique of bronze sculpture. From the making of the initial model, to the casting of the bronze, all the way down to the signature patination of the sculpture by the artist, discover just went into the production of the metal masterpieces. 

This episode examines the sculptural medium of marble and how artists worked the stone. From the quarries of Carrara to the various tools used by the sculptor, we discover just what goes into producing a sculptural masterpiece in marble.

This episode examines the extraordinary collection of statues on the outside of the church of Orsanmichele in Florence, Italy. Produced by some of the greatest artists of the Renaissance, such as Donatello, Ghiberti and Verrocchio, each statue reflects the changing artistic styles of the day as well as the socio–economic importance of their guild patrons.

This episode recounts the history behind the medieval–grain–market–turned–church of Orsanmichele in Florence, Italy. The building has always reflected the bustling commercial character of the city, first as a marketplace for grain and then as its official guild church.

This episode explores the history and evolution of one of the world's most famous bridges – the Ponte Vecchio in Florence, Italy. From ancient Roman times through to today, the bridge has served as a means of passage between the banks of the Arno river, as well a thriving commercial centre for various types of professions.

This episode examines the beautiful fresco decoration inside of the Spanish Chapel in the convent of Santa Maria Novella in Florence, Italy. These paintings are not only prime examples of art produced in the wake of the Black Death, but they also testify to how the Dominicans effectively used art as a didactic instrument.

This episode examines the history and patronage of one of the great medieval churches of Florence: Santa Maria Novella. The seat of the Dominican Order in Florence, the rather severe style of the art in this church reflects the orthodox philosophy of this particular religious order. Perhaps the most spectacular of the decorative spaces in this church is its chapter house, known as the Spanish Chapel.

This episode examines one of the most sinister and violent fresco cycles of the Middle Ages in the cathedral or "Collegiata" of the Tuscan town of San Gimignano. Attributed to a mysterious artist named Barna Da Siena, the frescoes are often used as an example of a "post-Black Death style" of painting.

This episode examines the consequences of the Black Death on medieval European society. From religion, to economics, to art, the Black Death would forever change Europe and in many ways prepare the way for the coming of the Renaissance.

This episode addresses one of the greatest natural calamities in human history - the Black Death. This "mother of all plagues" wiped out 1/3 of Europe's population over just a couple of years and left an indelible mark upon western society.

This episode is the fourth and final episode addressing the extraordinary frescoes by Giotto in the Scrovegni Chapel in Padua, Italy. The paintings in this episode represent the climax of the visual narrative and depict the story of the passion of Jesus Christ.

This episode examines the extraordinary visual representations of the "Life of Jesus Christ" created by the visionary painter Giotto in the Scrovegni Chapel in Padua, Italy in the early 14th century.

This episode will examine two of the extraordinary themes depicted in Giotto's paintings in the Scrovegni Chapel: the surprisingly optimistic Last Judgement, and the startlingly cinematic Life of the Virgin Mary.

This episode will address the history of the Scrovegni Chapel in Padua, Italy from its construction, to its patronage, to its decoration by the great painter Giotto. We will also discuss the modern system of conservation employed at the chapel in order to conserve the recently-restored frescoes.

This episode will examine the architecture and explore the epic construction history of one of the largest and most beautiful churches in the world.

This episode will explore the thrilling horserace known as the Palio that takes place in the central medieval square of Siena twice a year. Winning the race is the most important objective of every Sienese person, and we shall examine just how far the Sienese will go in order to obtain victory!

This episode will examine one of the most timeless and politically enlightening works of art of all time - Ambrogio Lorenzetti's Allegory of Good and Bad Government - which clearly reveals that the governing principles of an effective democracy transcend time!

This episode will examine Simone Martini's mural of the Maestà in the Hall of the Great Council in Siena's town hall, known as the Palazzo Pubblico. The painting represents a milestone moment in the history of art where a religious subject is inserted into a civic setting for the first time.

This episode will analyse the history and architecture of the medieval town hall of Siena known as the Palazzo Pubblico, which was one of the seminal civic structures in Europe. We shall also examine what has been described as the most beautiful urban space in all of Italy - the Piazza del Campo.

This episode examines the very special relationship that Siena has with the Virgin Mary and how this privileged relationship came about. We shall also discuss one of the most important paintings in the history of art - Duccio's great Maestà.

This podcast will recount the extraordinary construction history and examine the striking architecture of one of the world's most beautiful churches - the cathedral of Siena. 

This episode recounts the foundation myth of the great Tuscan city of Siena and how 14th-century Sienese government officials claimed to have discovered a document that traced Siena's ancestry all the way back to Ancient Rome - but not to Rome's great founder Romulus, but instead to his defunct brother Remus. 

In this episode, I lay out the terms and dates of the major western historical and art historical periods, and various works of art and architecture with which they can be identified.

This podcast will explain the technique of fresco painting, the various advantages and disadvantages of this millennia-old method, as well as famous examples of this medium from the Renaissance.

This episode will analyze Giotto's frescoes of "The Life of St. Francis" in the Bardi Chapel in Santa Croce. Giotto's introduction of  naturalism, psychology, movement, emotion, and drama into his paintings was a groundbreaking innovation for medieval painting.

This episode explores and examines what is arguably the world's most impressive collection of celebrity tombs that is housed in the great Franciscan basilica, including the tombs of Michelangelo, Galileo, and Machiavelli.

This episode explores the history and architecture of this great church in Florence, Italy and how the social and economic forces of medieval Florence contributed to making it the largest Franciscan church in the world.

This very personal podcast recounts my harrowing experience inside of the Basilica of St. Francis in Assisi when a severe earthquake struck the town in 1997 causing several vaults to collapse inside the Upper Basilica and killing four people.

This episode examines the history, architecture and decoration of great shrine to St. Francis in Assisi that was decorated by a veritable all-star team of late-13th/early-14th-century artists such as Cimabue, Simone Martini, Pietro Lorenzetti and perhaps even Giotto. It also discusses the phenomenon of pilgrimage and the importance of relics in the spiritual life of medieval Christians.

This episode will examine the extraordinary life of one of the greatest revolutionaries in Western history: St. Francis of Assisi. It will also discuss how St. Francis' revolutionary natural philosophy may have sparked the historical movement known as the Renaissance.  

This episode will examine the extraordinary collection of sculptures in the Piazza della Signoria in Florence, Italy. From Donatello's "Judith and Holofernes' to Michelangelo's "David" to Cellini's "Perseus and Medusa", each sculpture represents a chapter in the extraordinary story that is the history of the great Renaissance city.

This episode will analyze the architecture of the building that was the seat of political power in medieval Florence - the Palazzo Vecchio - and the historical circumstances that led to its construction.

This episode will trace the historical evolution of Europe from the fall of the Roman Empire through Charlemagne and the creation of the Holy Roman Empire and finally to the rise of medieval city-states in Italy with particular emphasis given to the role of Florence. 

This podcast will examine the ancient Roman origins of the city of Florence and trace its urban development from its foundation in 59 B.C. to the modern city that we see today. 

This podcast will examine the transformation of a provincial Italian town named Ravenna into an Imperial capital and how the Byzantine Emperor Justinian sought to recapture the western half of his empire. 

This episode will address the rise of Christianity in the Roman world and the critical role that Emperor Constantine played in its success and changing the world forever. 

In this episode, we examine and analyze the ancient Roman temple that has been described as the most perfectly designed architectural monument in history. 

This episode examines that most decadent period in ancient Roman history when emperors provided both lavish foods and spectacular entertainment to the citizens of Rome.

In this podcast we examine the jaw-dropping spectacles and bloody contests that took place inside of the Colosseum. 

This podcast analyzes the architecture and reconstructs the engineering marvels of the mother of all amphitheaters.

This episode recounts and analyzes the rise to power of Julius Caesar and the transformation of the Roman Republic into an Empire.

This episode examines the foundation myth of Ancient Rome and how it reflects those critical historical and social factors that contributed to making Rome the most absolute empire in history.