Podcasts about bernini

Artisti, pittura, architettura e opere nella Roma del '600, la capitale dei papi e del Barocco.

Il genio di Bernini vive nelle sue sculture barocche: David, Apollo e Dafne e altre opere che hanno cambiato l'arte europea.

Il Barocco nell'arte: caratteristiche e definizione del periodo artistico che annovera tra i suoi esponenti Borromini, Bernini e Pietro Da Cortona.

La Basilica di San Pietro è un capolavoro architettonico e spirituale, ricco di storia, arte e protagonisti del Rinascimento.

We often wonder, what would it have been like to go back in time and be there for a major event. Perhaps Baroque art is the pasts premiere way of transporting and observer to a brief moment in time. Harmony breaks it down for us using, "Rome's last true Renaissance man," Bernini. Harmony's Instagram Strider's Stand Up Special Makin' Memories Sources: nga.gov, walksofitaly.com, history.com, imdb.com, wikipedia.org, historyhit.com

El legado del Papa Francisco ha estado muy presente en el Cónclave que ha elegido a León XIV como sucesor a la cabeza de la Iglesia. El fallecido pontífice argentino siempre abogó por hacer de los pobres uno de los ejes de su papado, y un claro ejemplo de ello es el Palazzo Migliore: Un edificio de lujo propiedad del Vaticano que ha terminado como refugio para los más necesitados de Roma. A dos pasos de la Plaza de San Pedro, frente a la conocida columnata de Bernini, varios sin techo esperan su turno cada tarde para entrar en el Palazzo Migliore. Propiedad de la Iglesia, este edificio en un emplazamiento inmejorable era anhelado para ser transformado en hotel de lujo, pero en 2019 el Papa Francisco cedió su gestión a la Comunidad de San Egidio, para que se transformase en un refugio para los necesitados. Ahora, cada día 45 personas sin hogar comen y duermen aquí. Carlo Santoro responsable del centro, explica a RFI la decisión del Papa Francisco:“Esta casa tan bonita, todos sabíamos que iba a convertirse en un hotel de lujo para los ricos, pero el Papa Francisco ha dicho ‘no, quiero que este lugar se destine a los pobres, porque los pobres merecen la belleza, porque la belleza sana todo'”.A las 6 y media de la tarde comienza la llegada, siempre en orden, de las personas albergadas. Poco después se sirve la cena.Juan es boliviano. La falta de fortuna le llevó a una difícil situación en Roma. Hace casi tres años que viene cada día al Palazzo Migliore para comer y dormir.Su agradecimiento a los voluntarios y al Papa Francisco es evidente: “Nos tratan de maravilla. Estamos agradecidos a Dios y especialmente al papa Francisco, que nos tendió la mano a todos”, explica a Radio Francia Internacional.La llegada del nuevo Papa puede plantear dudas sobre el futuro de este codiciado edificio, pero no para Carlo, que cree que la Iglesia no dará marcha atrás: “Nosotros en realidad no tenemos ningún temor de que la Iglesia pueda dar marcha atrás de alguna manera en este camino, que ha sido una conquista para la Iglesia".El gestor del centro prosigue: "Como dijo el Papa Francisco muchas veces, hay que poner a los pobres en el centro de la Iglesia. No creo que la Iglesia en este punto quiera renunciar a este tesoro que son los pobres. Además, no es un camino recorrido solo del papa Francisco, sino por toda la Iglesia a partir del Vaticano II”.   Desde su apertura a los más necesitados, 130 personas han podido encontrar un lugar de descanso en este Palazzo Migliore. 

Las diez en Canarias. Última hora en Herrera en COPE. Estar informado. El mundo entero mira en estos momentos a la Basílica de San Pedro, aquí en el Vaticano, donde me encuentro y donde tenemos una mañana a ratos muy luminosa en Roma y a ratos con mucha lluvia, se alterna una cosa con la otra, cuando llueve te ves obligado a refugiarte corriendo en la columnata de Bernini. Así es esta jornada en la que muchos fieles se apiñan ahora mismo ante las grandes pantallas que hay en la plaza para seguir la misa, porque en este momento se está celebrando la misa por la elección del romano pontífice. ...

Jorge Bustos y Pilar Cisneros, la última hora en mediodía COPE. Estar informado. ¿Qué tal? Soy Jorge Bustos, bienvenidos si te incorporas a este mediodía COPE. Faltan exactamente tres horas para que los cardenales electores se reúnan bajo el tejado a dos aguas de la capilla Sixtina. No llego a divisarla desde donde me encuentro ahora mismo, pero ahí está. Estoy justo debajo de la columnata de Bernini, bien custodiado por compañeros carabineris aquí a mi lado en la plaza de San Pedro. Lo normal, lo previsible, es que esta tarde tras la primera votación del cónclave que arranca hoy, la fumata ...

Secondo un sondaggio Noto per Il Sole 24 Ore del Lunedì, l'inflazione percepita dagli italiani ad aprile è al 9,9%, quasi otto punti sopra il dato reale (2%). Un italiano su due ha tagliato i consumi negli ultimi sei mesi e il 61% giudica inadeguato il proprio reddito rispetto al costo della vita. Le spese più sentite sono per energia, salute e alimentari. La differenza tra inflazione reale e percepita è aumentata rispetto a ottobre 2023. Le donne avvertono incrementi di prezzo più forti degli uomini. Il decreto Bollette ha stanziato 3 miliardi, con bonus di 200 euro per famiglie sotto i 25mila euro ISEE. Intanto, le retribuzioni reali restano inferiori di circa l'8% rispetto a gennaio 2021, e il 70% degli intervistati non crede nell'efficacia delle misure del governo. Ne parliamo con Michela Finizio, Il Sole 24 OreCarburanti: proseguono ribassiI prezzi dei carburanti continuano a scendere per la quinta settimana consecutiva, con il Brent sotto i 60 dollari per la prima volta dal gennaio 2021. Tuttavia, il calo alla pompa non rispecchia pienamente il crollo delle quotazioni petrolifere (-15/20% su base annua), a causa dell'elevata componente fiscale nel prezzo finale. I prezzi medi: benzina self a 1,702 €/l, diesel self a 1,595 €/l. Gpl e metano in calo, come pure il Gnl. Anche in autostrada si registrano diminuzioni, ma più contenute. Il commento è di Gabriele Masini, direttore di Staffetta Quotidiana.Trump pensa a dazi del 100% sui film stranieri. Un'altra misura "Boomerang"?Trump ha annunciato possibili dazi del 100% sui film esteri, accusando altri Paesi di sottrarre produzioni agli Stati Uniti. Ma la misura rischia di danneggiare la stessa industria americana, che si appoggia spesso a studi stranieri per motivi di costo. Una risposta simmetrica da parte dell'Europa sarebbe disastrosa per Hollywood, che dipende anche dai mercati e dai festival europei. L'analisi ricorda che, come per l'automotive, queste misure protezionistiche possono ritorcersi contro gli stessi Stati Uniti. Interviene Cristina Battocletti, Il Sole 24 Ore.Sulla fuga dei cervelli è scontro Italia-FranciaIl vertice "Choose Europe for Science", convocato da Macron a Parigi, per attrarre ricercatori in fuga dagli USA, ha irritato l'Italia. Il ministro Bernini rivendica l'azione già intrapresa con un bando da 50 milioni. Il governo italiano si chiede se l'evento sia davvero europeo o promuova solo la Francia. Macron e Von der Leyen hanno annunciato un pacchetto da 500 milioni e una nuova "super sovvenzione" per ricercatori di eccellenza. La Francia aggiunge altri 100 milioni per attrarre talenti, mentre l'Italia era rappresentata dall'ambasciatrice a Parigi. Con noi Danilo Ceccarelli, Radio24.

There's one museum in Rome that has it all—and it's not the Vatican.   The Capitoline Museums are comprised of a collection of nearly everything you could hope for in a museum—sumptuous frescoed rooms, Caravaggio paintings, Bernini sculptures, ancient bronze and marble statuary, panoramic views of the Roman Forum, fascinating artifacts, and the ruins of Rome's oldest and most important temple.   And believe it or not, it's never crowded. Not even in high season. On this mini-episode, Tiffany talks about why she adores this museum, and believes it's Rome's best-kept secret that blows the Vatican Museums out of the water. And don't miss your chance to visit Rome with us, on our intimate Rome listener trip, coming up in October 2025. Find out all about it here, or email us for more information! ***Katy's sister Dana has recently been diagnosed with stage 4 agressive brain cancer. To help with the staggering medical costs—her specialist is outside her insurance network—as well of the costs of temporarily relocating to San Francsico for her treatments, please consider donating to her GoFundMe. Anything you can contribute will be extremely helpful. Thank you.*** ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!  

El Papa Francisco al renovarle le dio el importante encargo de conducir a los cardenales electores, él no votará, pero encargarse de que la elección del próximo pontífice pues esté en manos, esté cuidada por alguien con tanta experiencia y vitalidad como el cardenal Re. Vamos a asomarnos a los distintos puntos de la ciudad. Jorge Bustos sigue desde la puerta Angélica. Supongo que todavía allí están los peregrinos. Aquí están, efectivamente, están saliendo por el tibiadero que es de la muralla a la derecha de la columna de Bernini. Están saliendo todos los asistentes para tomar posiciones. ...

Con Jorge Bustos y Pilar Cisneros, la última hora en mediodía cope. Estar informado. ¿Qué tal? Soy Jorge Bustos, bienvenido al mediodía de este jueves 24 de abril. El estudio de mediodía cope hoy es la columnata de Bernini, aquí en la plaza de San Pedro en Roma. Concretamente me cobija la segunda de estas 284 enormes columnas dóricas de travertino. Llevan tres siglos y medio en pie aquí, pero parecen recién inauguradas por el Papa Alejandro séptimo de tan blancas, las han limpiado a fondo para el año jubilar. Ahora está nublado, pero cuando pega el sol en estas columnas reflejan la luz con ...

Con Jorge Bustos y Pilar Cisneros, la última hora en Mediodía COPE. Estar informado. ¿Qué tal? Bienvenidos si te incorporas a este Mediodía COPE. Roma sigue siendo el centro del mundo y dentro de Roma, la Plaza de San Pedro. Y dentro de la Plaza de San Pedro, la columnata de Bernini que hoy nos sirve de estudio y que nos cobija cuando de pronto se pone a llover, porque está el tiempo algo loco por aquí, ¿eh? Pasamos del sol a la nubosidad variable o al chaparrón traicionero. Pero nada de eso desalienta a los peregrinos que hacen cola pacientemente esperando el momento de verse ante el féretro ...

La Basílica de Santa Maria Maggiore de Roma, donde el papa Francisco decidió ser enterrado, está muy vinculada con España. Las conexiones son religiosas, por supuesto, pero también institucionales y artísticas: Murillo pintó dos obras inspiradas en el relato milagroso sobre la fundación de la basílica romana y Bernini diseñó la escultura de Felipe IV en la entrada de la iglesia. Hablamos con Anna Peirats, catedrática de la Universidad Católica de Valencia y directora del Instituto Isabel de Villena de Estudios Medievales y Renacentistas.Informa Íñigo PicabeaEscuchar audio

La rassegna stampa di oggi, giovedì 17 aprile, è a cura di Cecilia Ferrara.DOVE ASCOLTARLA: Spotify , Apple Podcast , Spreaker e naturalmente sul nostro sito www.sveja.it Sveja ricorda il rastrellamento del Quadraro del 17 aprile '44 con un breve montaggio di testimonianze mentre oggi ci sarà un corteo da Piazza dei Consoli alle 17. Su Repubblica la condanna all'ergastolo per il killer dell'assemblea di condominio, Campiti, e i progetti del Pnrr a Roma e a Trevinano borgo di 140 abitanti che ha ottenuto 20 milioni. Il Corriere approfondisce l'inchiesta sul doppio omicidio di via Prenestina il giovane boss della mafia cinese era troppo prepotente sarebbe stato punito dal 'capo' di Prato. Restaurata la Barcaccia la fontana del Bernini a Piazza di Spagna.Il Grande Cocomero lancia l'allarme: non fanno più uscire i ragazzi di neuropsichiatria infantile, si è interrotto il rapporto con il centro sociale fondato da Bollea. Foto dell'Ecomuseo Casilino Ad duas Lauros.Sveja è un progetto sostenuto da Periferiacapitale, il programma per Roma della fondazione Charlemagne. Ringraziamo inoltre l'associazione A Sud che ci mette a disposizione i propri spazi per le riunioni di redazione.La sigla di Sveja è di Mattia CarratelloVuoi sostenerci con una piccola donazione? Ora basta un click!  La rassegna stampa torna domani!

If we don't pay close attention, we can easily miss the wonders of St. Peter's Square. In this special episode of All Things Catholic, Dr. Sri explains the rich theological and historical symbolism behind the incredible design of St. Peter's Square, from its majestic dome to the hundreds of saintly statues on Bernini's columns. Snippet from the Show St. Peter's Square symbolizes the Church's outreach to the world. _ _ For full shownotes, visit Ascensionpress.com/Allthingscatholic, or text ALLTHINGSCATHOLIC to 33-777 for weekly shownotes sent to your inbox.

Fluent Fiction - Italian: Spring Romance in Roma: A Journey of Rediscovery Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-03-10-22-34-02-it Story Transcript:It: La primavera arriva lentamente a Roma, e Piazza Navona è un turbinio di colori e suoni.En: Spring arrives slowly in Roma, and Piazza Navona is a whirlwind of colors and sounds.It: Le bancarelle d'arte riempiono la piazza, mentre l'aria è densa del profumo dei fiori freschi e delle decorazioni pasquali.En: The art stalls fill the square, while the air is dense with the scent of fresh flowers and Easter decorations.It: Gli artisti espongono le loro opere accanto alla splendida fontana del Bernini, e la vita scorre come un mosaic variopinto.En: The artists display their works next to the splendid fontana del Bernini, and life flows like a colorful mosaic.It: Luca cammina lentamente tra la folla.En: Luca walks slowly through the crowd.It: È un artista, ma da tempo non riesce a dipingere.En: He is an artist, but for some time he hasn't been able to paint.It: Cerca ispirazione, qualcosa che risvegli la sua passione.En: He is searching for inspiration, something to awaken his passion.It: Dall'altra parte della piazza, Giulia osserva attentamente la scena.En: On the other side of the square, Giulia carefully observes the scene.It: È una scrittrice di viaggi, intenta a catturare l'essenza di Roma per un articolo.En: She is a travel writer, intent on capturing the essence of Roma for an article.It: I loro sguardi si incrociano mentre entrambi si fermano davanti a un quadro.En: Their gazes meet as they both stop in front of a painting.It: "Bello, vero?"En: "Beautiful, isn't it?"It: dice Giulia sorridendo.En: says Giulia, smiling.It: Luca annuisce, un po' timido.En: Luca nods, a bit shy.It: "Sì, mi piace come l'artista usa il colore."En: "Yes, I like how the artist uses color."It: Giulia sorride ancora.En: Giulia smiles again.It: "Sono qui per scrivere di Roma.En: "I am here to write about Roma.It: Vorrei scoprire i posti segreti della città.En: I would like to discover the secret places of the city.It: Conosci qualcuno?"En: Do you know any?"It: Luca ci pensa.En: Luca thinks about it.It: Sa che dovrebbe rimanere concentrato sulla sua ricerca dell'ispirazione, ma c'è qualcosa in Giulia che lo spinge a rispondere.En: He knows he should remain focused on his search for inspiration, but there's something about Giulia that pushes him to respond.It: "Potrei mostrarti qualche posto," risponde, cercando di essere più aperto.En: "I could show you some places," he replies, trying to be more open.It: Iniziano un'avventura per le strade nascoste della città.En: They begin an adventure through the hidden streets of the city.It: Luca mostra a Giulia i giardini segreti dietro i palazzi antichi, le piccole chiese dove il tempo sembra essersi fermato, e i punti panoramici da cui si può vedere il Tevere scintillare al tramonto.En: Luca shows Giulia the secret gardens behind ancient palaces, the small churches where time seems to have stood still, and the panoramic points from which one can see the Tevere shimmering at sunset.It: Con il passare dei giorni, Luca inizia a sentire di più.En: As the days pass, Luca starts to feel more.It: Si apre e parla, raccontando a Giulia delle sue speranze e delle sue paure.En: He opens up and talks, telling Giulia about his hopes and fears.It: Giulia, a sua volta, si rende conto che, per raccontare veramente Roma, deve viverla, non solo osservarla.En: Giulia, in turn, realizes that to truly tell the story of Roma, she must live it, not just observe it.It: Una sera, sotto un cielo che si tinge di arancione e rosa, si fermano sul ponte sopra il Tevere.En: One evening, under a sky tinged with orange and pink, they stop on the bridge over the Tevere.It: "Domani è Pasqua," dice Giulia, "ma io non voglio andare via."En: "Tomorrow is Easter," Giulia says, "but I don't want to leave."It: Luca guarda l'acqua che scorre.En: Luca looks at the flowing water.It: "Anche io ho trovato qualcosa che cercavo," confessa.En: "I have also found something I was looking for," he confesses.It: "Non solo posti nuovi, ma una nuova ispirazione."En: "Not just new places, but new inspiration."It: Decidono di restare lì fino a quando il sole cala del tutto, condividendo sogni e paure per il futuro.En: They decide to stay there until the sun fully sets, sharing dreams and fears for the future.It: Qualcosa cambia in loro quella sera.En: Something changes in them that evening.It: Giulia termina il suo articolo il giorno dopo, scrivendo con una passione ritrovata.En: Giulia finishes her article the next day, writing with a newfound passion.It: Luca, allo stesso modo, si siede davanti alla tela e dipinge con una nuova energia.En: Luca, in the same way, sits in front of the canvas and paints with a new energy.It: Quando è ora di dire addio, si promettono di incontrarsi di nuovo, la prossima Pasqua a Roma, per vedere dove li ha portati la vita.En: When it's time to say goodbye, they promise to meet again, next Easter in Roma, to see where life has taken them.It: Entrambi sanno che qualcosa è nato tra di loro, qualcosa che va oltre l'arte e la scrittura.En: Both know that something has been born between them, something that goes beyond art and writing.It: Qualcosa che, come la primavera a Roma, è pieno di promesse.En: Something that, like spring in Roma, is full of promises. Vocabulary Words:spring: la primaverasquare: la piazzawhirlwind: il turbiniostalls: le bancarelledense: densascent: il profumofountain: la fontanamosaic: il mosaicocrowd: la follainspiration: l'ispirazionepassion: la passionegazes: gli sguardiwriter: la scrittriceessence: l'essenzaarticle: l'articoloshy: timidosecret: i segretiadventure: l'avventuragardens: i giardinichurches: le chiesesunset: il tramontofears: le paurebridge: il ponteflowing: scorreenergy: l'energiagoodbye: l'addiopromises: le promessedisplay: espongonohidden: nascosteobserve: osservare

We meet bestselling writer Shon Faye to discuss her new book Love In Exile and artists she admires: Nan Goldin, The Bloomsbury Group, Bernini, Michelangelo, Pedro Almodóvar's Bad Education and performers including Tom Rasmussen, Madonna and David Hoyle.Shon Faye grew up quietly obsessed with the feeling that love was not for her. Not just romantic love: the secret fear of her own unworthiness penetrated every aspect and corner of her life. It was a fear that would erupt in destructive, counterfeit versions of the real love she craved: addictions and short-lived romances that were either euphoric and fantastical, or excruciatingly painful and unhinged, often both. Faye's experience of the world as a trans woman, who grew up visibly queer, exacerbated her fears. But, as she confronted her damaging ideas about love and lovelessness, she came to realize that this sense of exclusion is symptomatic of a much larger problem in our culture.Love, she argues, is as much a collective question as a personal one. Yet our collective ideals of love have developed in a society which is itself profoundly sick and loveless; in which consumer capitalism sells us ever new, engrossing fantasies of becoming more loved or lovable. In this highly politicized terrain, boundaries are purposefully drawn to keep some in and to keep others out. Those who exist outside them are ignored, denigrated, exiled.In Love in Exile, Shon Faye shows love is much greater than the narrow ideals we have been taught to crave so desperately that we are willing to bend and break ourselves to fit them. Wise, funny, unsparing, and suffused with a radical clarity, this is a book of and for our times: for seeing and knowing love, in whatever form it takes, is the meaning of life itself.Shon Faye is author of the acclaimed bestseller The Transgender Issue. Her work has been published in, among others, the Guardian, Independent, British Vogue and VICE. Born in Bristol, she now lives in London.As Frieze magazine recently wrote: Shon Faye is one of the most celebrated non-fiction authors in the UK, rising to fame for her discerning prose on culture, relationships and class. Her first book, The Transgender Issue (2021), a provocative treatise on gender identity debates in the UK, was part of her rise to fame. Not only did Faye offer a detailed survey of queer history, but she also indicated why trans-liberation is connected to liberation for all. Her new book of essays, Love in Exile (2025), explores the existential and social challenges of courtship and heartache. Rather than focus solely on the discrimination that many transgender people face, however, the text is a literary memoir that interrogates how ancient and present-day writers conceptualize and dissect love. As a Vogue contributor with her advice column ‘Dear Shon' (2022–ongoing), host of the podcast Call Me Mother (2021–ongoing) and author of Dazed & Confused Magazine's ‘Future of Sex' series (2022–ongoing), she addresses the topic of romance with honesty and poise.Follow @Shon.Faye on InstagramBuy Love in Exile, published by Pengiun.You can also follow @TalkArt for images of all artworks discussed in today's episode. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

On November 28, 1680,  the 82-year-old Bernini passed away. His spectacular career was nearly 70 years long, during which he worked for 8 different popes. Only Michelangelo surpassed him in terms of lifespan and papal patrons! This podcast looks back on Bernini's career, his rather surprisingly modest tomb, and the great legacy that he left behind.

In 1672, Gian Lorenzo began the creation of the most spectacular papal tomb monument in St. Peter's Basilica – the “Tomb of Pope Alexander VII.” Located in the southern transept arm of the church, the monument depicts a pious figure of the pope kneeling in prayer, surrounded by four massive marble statues representing the virtues of Charity, Truth, Prudence, and Justice. But the most amazing aspect of the tomb is the stone drapery that wraps around the figures and from which a winged figure of death emerges!

Carved in the last decade of Bernini's life, the monument to Blessed Ludovica Albertoni shows that Bernini had not lost his touch in his later years. As sensual and beautiful as his more celebrated earlier works such as “Apollo and Daphne” or “Ecstasy of St. Teresa,” the “Blassed Ludovica Albertoni” depicts the mystic in an ecstatic state of union with God.

In 1669, at the age of 71, Gian Lorenzo Bernini was commissioned by Pope Clemet IX to renovate the most important pilgrimage bridge in Rome, the Ponte Sant'Angelo. Bernini planned on installing 10 spectacular statues of angels holding the instruments of the passion, only two of which were ultimately carved by Bernini.

Completed in 1667 and located in front of the church of Santa Maria Sopra Minerva in Rome, Italy, Bernini's “Elephant” is a powerful symbol combining Egyptian lore and Roman power. The elephant was designed as an imaginative base for the ancient Egyptian obelisk from the 6th century BCE.

Oggi a Cult: Eros Galbiati, fra gli interpreti del film "Racconti di un certo Oriente" di Marcelo Gomes; ultimi giorni per vedere la mosra "Baj chez Baj" a Palazzo Reale di Milano; Marco Martinelli del Teatro delle Albe firma la regia di "Lettere a Bernini" con Marco Cacciola all'Elfo Puccini; la casa editrice I Dobloni ha una nuova sede, come racconta la libraia Mariana Marenghi...

Oggi a Cult: Uberto Pasolini sul film "Itaca. Il ritorno"; Pier Lorenzo Pisano sul suo "Semidei" al Piccolo Teatro Studio Melato; Marco Martinelli firma la regia di "Lettere a Bernini" con Marco Cacciola, all'Elfo Puccini: la rubrica ExtraCult a cura di Chawki Senouci...

Although commissioned while Bernini was in Paris in 1665, Bernini did not work on the statue until he returned to Rome. When it was finally delivered to Paris 20 years later, it was immediately rejected by the king, who vowed to destroy it!

Francesco Occhetta"Il vocabolario della fraternità"365 parole per riscrivere la nostra umanitàFondazione Fratelli TuttiPostfazione del cardinale Mauro GambettiRizzoli Editorewww.rizzolilibri.it365 parole “sgorgate dall'intelligenza del cuore”, come le definisce nella postfazione a questo libro il Cardinale Mauro Gambetti, Presidente della Fondazione Fratelli tutti, scelte e riscritte da altrettanti autori, esponenti delle Istituzioni civili ed ecclesiastiche, credenti e atei, Premi Nobel, artisti, giornalisti, scrittori di spicco, rappresentanti delle imprese e del mondo del lavoro e giovani missionari digitali. Questo libro è stato curato dalla Fondazione, che ha preso vita dalla enciclica omonima di Papa Francesco, la Fratelli tutti appunto, ed è stata istituita in seno alla Fabbrica di San Pietro. Come simboleggia il suo logo, composto da persone in movimento che formano l'abbraccio del colonnato del Bernini, la Fondazione si pone sulla “soglia” tra la Basilica di San Pietro e la città per promuovere fraternità e amicizia sociale. Il vocabolario della fraternità, dunque, aspira a operare in questo orizzonte: come nelle parole del Segretario generale della Fondazione Francesco Occhetta, si pone “il compito di ispirare i lettori a un percorso di crescita interiore e a un'apertura verso la fraternità e tutto ciò che di buono e di umano esiste”. Una parola al giorno, per accompagnare un anno di riflessioni e riscoprire il valore di far parte di una comunità e la necessità di “essere umani” oggi. Insieme.Fondazione Fratelli Tutti, è stata istituita da Papa Francesco l'8 dicembre 2021. Promuovendo diverse attività, quali percorsi tra arte e fede, seminari, eventi di formazione ed esercizi spirituali, momenti di dialogo tra le culture e le religioni e l'annuale World Meeting on Human Fraternity, la Fondazione agisce come un "enzima" impegnato a mantenere in salute il corpo sociale. La sua mission si propone di trasformare la fraternità e l'amicizia sociale in una cultura condivisa, capace di ispirare scelte personali e sociali, antidoti alla violenza e alla guerra. Il sito della Fondazione è www.fondazionefratellitutti.orgFrancesco Occhetta, gesuita dal 1996, insegna alla Pontificia Università Gregoriana di Roma. Dopo la laurea in Giurisprudenza a Milano, ha conseguito la licenza in teologia morale a Madrid e il dottorato in teologia morale presso la Pontificia Università Gregoriana. È specializzato in diritti umani all'Università degli studi di Padova. Ha completato la sua formazione a Santiago del Cile. Giornalista professionista dal 2010 ha ideato «Comunità di Connessioni», un percorso di formazione per giovani all'impegno sociale e politico e fondato una testata editoriale www.comunitadiconnessioni.orgIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

In April of 1665, Gian Lorenzo Bernini was sent by Pope Alexander VII to the court of King Louis XIV in Paris as a gesture of goodwill between monarchs. Although Bernini's main project was the design of the east façade of the Palace of the Louvre (which was eventually rejected, perhaps out of jealousy), the only work of art he created while in Paris was a spectacular marble bust of the “Sun King.”

Fluent Fiction - French: Mystery at the Louvre: The Missing Bernini Bust Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-01-12-08-38-19-fr Story Transcript:Fr: La neige tombait doucement sur Paris, recouvrant la ville d'un manteau blanc tandis que le musée du Louvre, avec sa pyramide de verre étincelante, accueillait des milliers de visiteurs.En: The snow was falling gently on Paris, covering the city with a white cloak while the Louvre Museum, with its sparkling glass pyramid, welcomed thousands of visitors.Fr: À l'intérieur, les corridors résonnaient de pas discrets et de murmures admiratifs.En: Inside, the corridors echoed with soft footsteps and admiring whispers.Fr: Luc, le curateur du musée, arpentait nerveusement les galeries.En: Luc, the museum curator, was nervously pacing through the galleries.Fr: Ce matin-là, lors d'une ronde habituelle, il avait fait une découverte déconcertante : une pièce maîtresse de l'exposition avait disparu.En: That morning, during a routine check, he had made a disturbing discovery: a centerpiece of the exhibition was missing.Fr: C'était un choc.En: It was a shock.Fr: Il se devait de trouver la pièce avant que ses supérieurs ne soient au courant.En: He had to find the piece before his superiors found out.Fr: Elodie, une jeune historienne de l'art au regard vif, travaillait dans la salle voisine.En: Elodie, a young art historian with a keen eye, was working in the next room.Fr: Luc avait souvent remarqué son sens aigu de l'observation.En: Luc had often noticed her sharp sense of observation.Fr: Elle était sa meilleure alliée.En: She was his best ally.Fr: Mais Elodie avait ses propres ambitions professionnelles.En: But Elodie had her own professional ambitions.Fr: Elle désirait se faire reconnaître.En: She desired recognition.Fr: Quelque part dans le musée, Mathieu, un visiteur énigmatique, observait les œuvres avec une attention suspecte.En: Somewhere in the museum, Mathieu, an enigmatic visitor, was observing the artworks with a suspicious level of attention.Fr: Luc ne pouvait ignorer l'impression que Mathieu connaissait beaucoup plus sur l'art qu'il n'en laissait paraître.En: Luc couldn't shake the impression that Mathieu knew much more about art than he let on.Fr: Luc avait une décision à prendre.En: Luc had a decision to make.Fr: Devait-il solliciter l'aide d'Elodie et de Mathieu, dont il se méfiait malgré tout, ou mener sa propre enquête?En: Should he seek the help of Elodie and Mathieu, whom he distrusted nonetheless, or conduct his own investigation?Fr: Il approcha Elodie.En: He approached Elodie.Fr: "Une œuvre a disparu", dit-il à voix basse.En: "A piece has disappeared," he said in a low voice.Fr: Elodie, surprise, fronça les sourcils.En: Elodie, surprised, furrowed her brows.Fr: "Quelle œuvre?"En: "Which piece?"Fr: demanda-t-elle avec empressement.En: she asked eagerly.Fr: "Le buste de Bernini", répondit Luc.En: "The Bernini bust," replied Luc.Fr: Ils échangèrent un regard, complices dans cette mission secrète.En: They exchanged a look, allies in this secret mission.Fr: Luc et Elodie décidèrent d'observer discrètement Mathieu.En: Luc and Elodie decided to discreetly observe Mathieu.Fr: Ses gestes, ses trajets semblaient méthodiques.En: His movements, his routes seemed methodical.Fr: Une intuition guidait Luc.En: An intuition guided Luc.Fr: Ils suivirent Mathieu jusque dans les archives, un endroit normalement interdit aux visiteurs.En: They followed Mathieu into the archives, a place normally off-limits to visitors.Fr: Là, Luc confronte Mathieu.En: There, Luc confronted Mathieu.Fr: "Pourquoi es-tu ici?En: "Why are you here?"Fr: ", demande-t-il, son ton ferme.En: he demanded, his tone firm.Fr: Mathieu se tait un moment, puis sourit légèrement.En: Mathieu was silent for a moment, then slightly smiled.Fr: "Je cherchais une vérité perdue", dit-il mystérieusement.En: "I was searching for a lost truth," he said mysteriously.Fr: Elodie examina les documents autour de Mathieu.En: Elodie examined the documents around Mathieu.Fr: "Qu'est-ce que cela signifie?En: "What does this mean?"Fr: ", interrogea-t-elle.En: she inquired.Fr: Mathieu dévoila alors une intrigue insoupçonnée : il était mené par une recherche personnelle pour restaurer l'honneur d'un artiste oublié, injustement accusé de plagiat.En: Mathieu revealed an unsuspected intrigue: he was driven by a personal quest to restore the honor of a forgotten artist, unjustly accused of plagiarism.Fr: Luc écouta cette histoire captivante.En: Luc listened to this captivating story.Fr: Ses ambitions s'estompèrent face à l'importance de la quête de Mathieu.En: His own ambitions faded away in the face of the importance of Mathieu's quest.Fr: Ensemble, ils trouvèrent le buste, caché parmi les caisses dans l'archive.En: Together, they found the bust, hidden among the crates in the archive.Fr: Bien que Luc ne reçût pas les honneurs espérés, il gagna quelque chose de plus précieux : un rappel que l'intégrité et l'esprit d'équipe valaient bien plus que toute reconnaissance personnelle.En: Although Luc did not receive the recognition he had hoped for, he gained something more valuable: a reminder that integrity and team spirit were worth far more than personal acknowledgment.Fr: Tandis que la nuit tombait doucement sur le musée, le monde de l'art continuait à raconter ses secrets, abritant des histoires non seulement sur les murs, mais aussi entre les cœurs et les âmes de ceux qui le fréquentaient.En: As night gently descended on the museum, the world of art continued to tell its secrets, holding stories not only on the walls but also between the hearts and souls of those who frequented it. Vocabulary Words:the curator: le curateurthe cloak: le manteauthe gallery: la galeriethe corridor: le corridorthe masterpiece: la pièce maîtressethe exhibition: l'expositionthe ambition: l'ambitionthe recognition: la reconnaissancethe visitor: le visiteurthe archive: l'archivethe tone: le tonthe document: le documentthe honor: l'honneurthe integrity: l'intégritéthe team spirit: l'esprit d'équipethe night: la nuitthe story: l'histoirethe heart: le cœurthe discovery: la découvertethe shock: le chocthe ally: l'alliéthe truth: la véritéthe intrigue: l'intriguethe quest: la quêtethe crate: la caissethe acknowledgement: la reconnaissancethe step: le pasthe whisper: le murmurethe intuition: l'intuitionthe footstep: le pas

Originally commissioned in 1654 by Pope Innocent X to be a free-standing statue in the Basilica of St. Peter, Bernini's “Vision of Constantine” was later incorporated into Bernini's Scala Regia. The marble statue represents – in typical Bernini dramatic fashion – the miraculous vision of Constantine who was shown a cross by an angel and told “In hoc signo vinces” (“In this sign, you will conquer”) on the eve of the momentous Battle of the Milvian Bridge.

In 1663, Pope Alexander VII commissioned Gian Lorenzo Bernini to restore and reinvent the official royal staircase – “Scala Regia” in Italian - leading up to the Apostolic Palace. The result was one of the world's most majestic and breathtaking staircases.

Gian Lorenzo Bernini was commissioned in 1658 by the nephew of the late Pope Innocent X to build the third Jesuit church in Rome. Sant' Andrea al Quirinale was Bernini's first church project, and he did not disappoint. The combination of convex and concave forms dressed in polychromed marbles, gilded stucco, plaster statues and dramatic paintings result in a stunning example of theatrical architecture.

In 1656, Gian Lorenzo Bernini was commissioned by Pope Alexander VII to design and build an appropriate forecourt to the Basilica of St. Peter, known as Piazza San Pietro (“St. Peter's Square”). The resulting space is one of the greatest triumphs of Baroque architecture, combining a trapezoidal space joining the façade of the basilica to Bernini's massive Doric order colonnades. St. Peter's Square is still one of the world's most famous piazzas.

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.”

Fluent Fiction - Italian: Whispers of Rivalry: A Stroll Through Piazza Navona's Secrets Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2024-11-27-23-34-02-it Story Transcript:It: La piazza è piena di vita, odori e suoni.En: The square is full of life, smells, and sounds.It: Alessandro cammina lentamente lungo Piazza Navona, respirando l'aria fresca d'autunno.En: Alessandro walks slowly along Piazza Navona, breathing in the fresh autumn air.It: Le foglie cadute danzano ai suoi piedi mentre si dirige verso il punto d'incontro.En: The fallen leaves dance at his feet as he heads to the meeting point.It: "Oggi è il giorno," pensa, un misto di entusiasmo e nervosismo gli fa battere forte il cuore.En: "Today is the day," he thinks, a mix of excitement and nervousness making his heart beat fast.It: Giulia arriva pochi minuti dopo.En: Giulia arrives a few minutes later.It: La sua curiosità è evidente nei suoi occhi brillanti.En: Her curiosity is evident in her bright eyes.It: Ha una mappa della piazza e una piccola borsa piena di taccuini per il suo progetto d'arte.En: She has a map of the square and a small bag full of notebooks for her art project.It: "Ciao, Alessandro!"En: "Hi, Alessandro!"It: saluta allegramente.En: she greets cheerfully.It: Alessandro sorride, cercando di nascondere l'agitazione.En: Alessandro smiles, trying to hide his agitation.It: "Giulia, sai che Piazza Navona è costruita su un antico stadio romano?"En: "Giulia, did you know that Piazza Navona is built on an ancient Roman stadium?"It: inizia Alessandro, cercando di catturare l'attenzione di Giulia senza appesantirla di storia.En: Alessandro begins, trying to capture Giulia's attention without overwhelming her with history.It: Lei annuisce, pronta ad ascoltare qualsiasi particolare nuovo.En: She nods, ready to hear any new detail.It: Mentre camminano vicino alla Fontana dei Quattro Fiumi, Alessandro decide di raccontare una leggenda meno conosciuta.En: As they walk near the Fontana dei Quattro Fiumi, Alessandro decides to tell a lesser-known legend.It: "Sai, c'è una storia interessante su questa fontana," dice, una scintilla di avventura nella voce.En: "You know, there's an interesting story about this fountain," he says, a spark of adventure in his voice.It: Giulia lo guarda curiosa, il suo interesse genuino.En: Giulia looks at him curious, her interest genuine.It: "Si dice che il Bernini, l'artista che ha creato questa fontana, lasciò un messaggio nascosto.En: "It is said that Bernini, the artist who created this fountain, left a hidden message.It: Una statua, che molti credono rappresenti il Rio della Plata, sembra coprire il volto in segno di paura.En: A statue, which many believe represents the Rio della Plata, seems to cover its face in fear.It: La leggenda narra che fosse un gesto di disapprovazione verso la facciata della chiesa di Sant'Agnese in Agone, progettata da un suo rivale," racconta Alessandro, sperando di impressionare Giulia.En: The legend tells that it was a gesture of disapproval towards the facade of the Chiesa di Sant'Agnese in Agone, designed by his rival," Alessandro recounts, hoping to impress Giulia.It: Giulia scoppia in una risata leggera.En: Giulia bursts into a light laugh.It: "Davvero?En: "Really?It: È affascinante!En: That's fascinating!It: Non sapevo di queste rivalità artistiche," risponde.En: I didn't know about these artistic rivalries," she responds.It: Il ghiaccio è rotto, e il loro cammino prosegue più rilassato.En: The ice is broken, and their walk continues more relaxed.It: Giulia fa domande, ma ora anche personali.En: Giulia asks questions, now also personal ones.It: Vuole conoscere Alessandro oltre le pietre antiche.En: She wants to know Alessandro beyond the ancient stones.It: Le ore passano velocemente.En: The hours pass quickly.It: Mentre si avvicina la sera, la luce dorata del tramonto dona alla piazza un'aria ancora più magica.En: As evening approaches, the golden light of the sunset gives the square an even more magical aura.It: Alessandro si sente più sicuro, e la tensione iniziale sembra un lontano ricordo.En: Alessandro feels more confident, and the initial tension seems a distant memory.It: "Grazie per questo pomeriggio, Alessandro.En: "Thank you for this afternoon, Alessandro.It: Ho scoperto molto più della sola storia della piazza," dice Giulia, con un sorriso sincero.En: I've discovered much more than just the history of the square," Giulia says, with a sincere smile.It: "Vorrei approfondire, magari un altro giorno.En: "I'd like to delve deeper, maybe another day.It: Che ne dici di fare altre esplorazioni artistiche insieme?"En: How about we do more artistic explorations together?"It: Alessandro annuisce, felice.En: Alessandro nods, happy.It: "Mi piacerebbe molto, Giulia."En: "I would love that, Giulia."It: Ha trovato il coraggio di andare oltre le parole e i fatti.En: He found the courage to go beyond words and facts.It: Mentre si salutano, sanno entrambi che qualcosa è cambiato.En: As they say goodbye, they both know that something has changed.It: La piazza ora li conosce non solo come studenti ma come amici, forse qualcosa di più che amici.En: The square now knows them not only as students but as friends, perhaps something more than friends.It: Poi, come anticipando qualcosa di speciale con l'avvicinarsi dell'Immacolata Concezione, i loro cuori sono aperti a nuove possibilità.En: Then, as if anticipating something special with the approaching Immacolata Concezione, their hearts are open to new possibilities. Vocabulary Words:square: la piazzaleaves: le fogliemeeting point: il punto d'incontroexcitement: l'entusiasmonervousness: il nervosismocuriosity: la curiositàmap: la mappanotebooks: i taccuiniart project: il progetto d'arteto greet: salutareagitation: l'agitazioneancient: anticostadium: lo stadiofountain: la fontanalegend: la leggendaspark: la scintillastatue: la statuagesture: il gestodisapproval: la disapprovazionefacade: la facciataartist: l'artistarival: il rivaleartistic rivalries: le rivalità artistichetension: la tensionesunset: il tramontoconfidence: la sicurezzasincere: sincerodiscovery: la scopertato delve: approfondirepossibilities: le possibilità

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.

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.

The "Michelangelo of Baroque," Bernini made Rome his gallery, showcasing his creations from the finest statues to his design of St. Peter's Square. For European travel information, visit https://www.ricksteves.com.

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.