Podcasts about Gian Lorenzo Bernini

fWotD Episode 3323: Amalthea (mythology) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Wednesday, 10 June 2026, is Amalthea (mythology).In Greek mythology, Amalthea or Amaltheia (Ancient Greek: Ἀμάλθεια) is the figure most commonly identified as the nurse of Zeus during his infancy. She is described either as a nymph who raises the child on the milk of a goat or, in some accounts from the Hellenistic period (c. 323–30 BC) onwards, as the goat itself.From as early as the 6th century BC, there survive references to the "horn of Amalthea" (known in Latin as the cornucopia), a magical horn said to be capable of producing endless amounts of any food or drink desired. In a narrative attributed to the mythical poet Musaeus and dating to around the 4th century BC, Amalthea, a nymph, nurses the infant Zeus and owns a goat which is terrifying in appearance. After Zeus reaches adulthood, he uses the goat's skin as a weapon in his battle against the Titans (the earlier generation of gods). The first known author to describe Amalthea as a goat is the 3rd-century BC poet Callimachus, who presents a rationalised version of the myth in which Zeus is fed on Amalthea's milk. Aratus, also writing in the 3rd century BC, identifies Amalthea with the star Capella, and describes her as "Olenian" (the meaning of which is unclear).Scholars disagree as to when the tale of Zeus's upbringing was first merged with that of the magical horn. They are explicitly combined by the Roman poet Ovid (1st century BC/AD), whose story of Zeus's nursing weaves together elements from multiple accounts. A passage from a marginal note in a manuscript of Aratus's version has been taken as evidence that the two myths may have been connected prior to Ovid. In the Fabulae, a 2nd-century AD mythological handbook, Amalthea hides the infant in a tree and gathers the Kouretes to dance noisily, so that the child's crying cannot be heard. Other accounts of Zeus's upbringing describe Amalthea as related to Melisseus, the mythical king of Crete, including an Orphic version of the story.Among the few surviving representations of Amalthea in ancient art is a 2nd-century AD marble relief which represents her as a goat suckling Zeus, behind two dancing Kouretes. She is also depicted on multiple coins and medallions from the Roman Empire. Between the 16th and 18th centuries, she was the subject of works by painters such as Giorgio Vasari and Jacob Jordaens, and sculptors such as Gian Lorenzo Bernini and Pierre Julien.This recording reflects the Wikipedia text as of 01:13 UTC on Wednesday, 10 June 2026.For the full current version of the article, see Amalthea (mythology) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Russell.

Adesso parlo io. Vi hanno sempre venduto Gian Lorenzo Bernini come il santo patrono del Barocco: il genio che piegava il marmo come burro, il preferito dei Papi e delle vostre professoresse di storia dell'arte, l'artista che fece “parlare” la pietra. Oggi, a Storicissimo, vogliamo mostrarvi il vero volto del cocco di curia del Seicento. Altro che “genio e sregolatezza”: qui siamo di fronte a un caso di immunità papale concessa a un maschio tossico violento. Vergogna.See omnystudio.com/listener for privacy information.

Conduce Graciela Echagüe

L'arte è il fine o lo strumento? Forma e contenuto si possono separare? Nella puntata di oggi, Carlotta e Melissa ci guidano sulle orme di uno dei più grandi teorici italiani dell'arte del secolo scorso, Benedetto Croce, facendolo dialogare con Gian Lorenzo Bernini, poliedrico artista del Seicento. Interviene Maurizia Cicconi, curatrice della mostra “Bernini e i Barberini”, visitabile nelle sale di Palazzo Barberini fino al 14 giugno.

Can you be sure you are raising your children properly?  How can you know you are right?  With so many different voices yelling at you from social media, friends, and the world, how can you know what is true?For instance, science mistakenly used to tell us margarine was better than butter, and eggs would kill us.  Who can you trust these days?Baroque sculptor Gian Lorenzo Bernini once said, “The most wonderful virtue of all is truth, because ultimately it is revealed by time.”Raise your children in the truth.  God never changes; he is the same yesterday, today, and forever.  Teach them to walk hand-in-hand with Him, and they will develop faith and a character that will stand the test of time.For more encouragement and parenting advice, visit Trail Life USA or RaisingGodlyBoys.com

In Un inno alla vita Gisèle Pelicot, protagonista di un caso giudiziario che ha sconvolto il mondo, racconta come si è ricostruita dopo le violenze subite. La scrittrice britannica Samantha Harvey nel suo ultimo libro Le infinite notti descrive la sua battaglia con l'insonnia. L'attività di fotografa della regista franco belga Agnès Varda è in mostra a Roma all'Accademia di Francia. Un'esposizione a Palazzo Barberini, sempre a Roma, ripercorre il rapporto personale, intellettuale e politico dello scultore e architetto Gian Lorenzo Bernini con il papa Urbano VIII. CONClaudia Torrisi, giornalista che collabora con InternazionaleVincenzo Latronico, scrittoreGiovanna Dascenzi, photo editor di InternazionaleClara Pérez Almodóvar, storica dell'arte e divulgatriceUn inno alla vita: https://www.youtube.com/watch?v=RKc6OvAakIcLe infinite notti: https://www.youtube.com/watch?v=Rxj4Gyi6T30Agnés Varda a Villa Medici: https://villamedici.it/it/programme/agnes-varda/Bernini e i Barberini: https://barberinicorsini.org/en/evento/bernini-e-i-barberini/Ci piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Is your son destined for greatness?Baroque sculptor Gian Lorenzo Bernini once said, “If you want to know the extent of a man's ability, give him something difficult to do.”Today's society wants to give everyone a prize for showing up, and award everyone an ‘A' for turning in the assignment.  The temptation to accept the easy ‘A' and the prize with no victory creates a world with no champions.Break the mold!  Challenge your son!  …the cold, early-morning air broken by the crunch of gravel under his hiking boots as he ascends a peak, the crash of helmets as he charges for a tackle, or the roar of a river as he shoots a rapid….Is your son destined for greatness?  Help him find it!For more encouragement and parenting advice, visit Trail Life USA or RaisingGodlyBoys.com.

Alessandro Angelini"Roma Seicento"La sculturaOfficina Librariawww.officinalibraria.netQuando si pensa alla scultura del Seicento a Roma vengono subito in mente le celebri opere di Gian Lorenzo Bernini: dall'Estasi di Santa Teresa in Santa Maria della Vittoria alle celebri opere della Galleria Borghese, Apollo e Dafne, il David, il Ratto di Proserpina... Il concetto stesso di Barocco romano s'identifica con il suo nome, ma altri grandi scultori contribuirono a rendere estremamente sfaccettato e complesso il panorama straordinario della statuaria a Roma di quegli anni. Il percorso prende le mosse dalla produzione scultorea dei primi decenni del secolo, rappresentata da diverse personalità e da un accentuato cosmopolitismo, che tende poco dopo a polarizzarsi attorno alle figure di Bernini, Alessandro Algardi e François Duquesnoy. A un nuovo modo di confrontarsi con l'antico si accompagna una vigorosa tendenza al colorismo di matrice veneziana e una ricerca di effetti e toni di sorprendente originalità, analizzate attentamente in una lunga introduzione al volume che ambisce a essere una vera e propria guida della città. Questo libro espone, in modo lineare e secondo una serrata successione cronologica, quei fatti storico-artistici grazie a numerose tavole a colori, aggiornati apparati e una mappa di Roma in cui ritrovare le opere dettagliatamente analizzate in agili schede di approfondimento.Alessandro Angelini (Siena, 1958), laureatosi con Giovanni Previtali, è professore ordinario in Storia dell'arte moderna all'Università degli Studi di Siena. I suoi interessi si sono concentrati per lo più sulla pittura del Rinascimento a Siena e in Toscana e sulla scultura del Seicento a Roma. Tra le sue pubblicazioni Gian Lorenzo Bernini e i Chigi tra Roma e Siena (1998); Bernini (1999); Pio II e le arti. La riscoperta dell'antico da Federighi a Michelangelo (2005); Piero della Francesca (2014). Nel 2022 ha co-curato la mostra urbinate su Federico da Montefeltro e Francesco di Giorgio: Urbino crocevia delle arti. Fa parte della redazione della rivista «Prospettiva». Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Christian GrappioloLa Galleria Borghese. Da Raffaello a Bernini. Storia di una collezione(Cuneo, Complesso Monumentale di San Francesco)Visite guidate, eventi e laboratoriUn ricco calendario di iniziative collaterali alla mostraA partire dal mese di dicembre 2025, in occasione della mostra La Galleria Borghese. Da Raffaello a Bernini. Storia di una collezione, è previsto un ricco calendario di iniziative collaterali dedicate a tanti diversi pubblici, con un programma di attività educative e inclusive che fanno di Cuneo un vero laboratorio di cultura condivisa.LA MOSTRALa mostra, promossa da Fondazione CRC e Intesa Sanpaolo, con il Patrocinio del Ministero della Cultura, con il supporto organizzativo di MondoMostre e curata da Francesca Cappelletti ed Ettore Giovanati, sarà visitabile al Complesso Monumentale di San Francesco di Cuneo fino al 29 marzo 2026.Attraverso una selezione di capolavori provenienti dalla Galleria Borghese con opere raramente esposte al pubblico di artisti come Tiziano, Jacopo Bassano, Raffaello, Battista Dossi, Cavalier d'Arpino, Lavinia Fontana, Orbetto, Guido Reni, Gian Lorenzo Bernini, il percorso della mostra restituisce la straordinaria parabola del collezionista Scipione Caffarelli Borghese (1577–1633) che fece della sua raccolta un teatro del bello e della conoscenza. GLI APPUNTAMENTI IN MOSTRACome da tradizione ormai consolidata, tutti i fine settimana sono previste visite guidate gratuite, laboratori artistici e visite per bambini e ragazzi. Per gli adulti, appuntamenti con laboratori di disegno, esperienze di meditazioni e approfondimenti sulla storia dell'arte. E ancora nell'anno nuovo non mancheranno gli appuntamenti a tema musica e festa e uno speciale appuntamento fuori mostra, a febbraio, con la visita alla collezione d'arte della Fondazione CRC. A dicembre si terranno “I Venerdì del disegno” con Serena De Gier, tre laboratori di disegno per adulti negli spazi espositivi, seduti di fronte alle opere, offrendo un'opportunità unica per studiare da vicino le proporzioni, l'equilibrio compositivo e la resa emotiva dei maestri in mostra: venerdì 19 dicembre (ore 17,30), A futura copia, lavorare a una copia, come i pittori dell'epoca, che riproducevano a schizzo e realizzavano vere e proprie copie per conto dei grandi committenti. E, infine, alle visite guidate si aggiungono due appuntamenti speciali: sabato 20 dicembre (dalle ore 20.30) “Luminarte”, dove la musica diventa luce a cura di Associazione Comitato Cuneo Illuminata con visite guidate serali e musica barocca a lume di candela nel chiostro del Museo, e domenica 21 dicembre  la visita tematica “Simboli e archetipi”, mitologia, archetipi, folklore e tarocchi nelle tele di Jacopo Bassano, per scoprire i giochi, gli enigmi e i significati profondi nascosti nelle opere allegoriche dell'artista. Prenotazioni visite ed eventi: www.fondazionecrc.itPer info: mostraborghese@gmail.com - tel. 351 5073495 INFORMAZIONI AL PUBBLICO DELLA MOSTRAComplesso Monumentale di San FrancescoVia Santa Maria, 10, 12100 Cuneo CN - fondazionecrc.it OrariMartedì – venerdì: 15.30 – 19.30 (al mattino aperto su prenotazione per scuole e gruppi);Sabato – domenica: 10 – 19.30 con orario continuato.IngressoLibero e gratuitoI possessori del biglietto di ingresso alla mostra avranno diritto ad accedere con tariffa ridotta alle Gallerie d'Italia di Torino, Milano, Vicenza e Napoli, fino al 30 giugno 2026.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Francesca Cappelletti"Da Raffaello a Bernini"Storia di una collezioneCuneo, Complesso Monumentale di San FrancescoÈ aperta al pubblico fino al 29 marzo 2026 la mostra "La Galleria Borghese. Da Raffaello a Bernini. Storia di una collezione", promossa da Fondazione CRC e Intesa Sanpaolo negli spazi del Complesso Monumentale di San Francesco a Cuneo. Il progetto espositivo, a cura di Francesca Cappelletti ed Ettore Giovanati, si avvale del Patrocinio del Ministero della Cultura, ed è stato realizzato con il supporto organizzativo di MondoMostre.La mostra raccoglie alcuni dipinti identificativi delle diverse “scuole pittoriche” che contraddistinguono l'arte italiana in epoca rinascimentale e barocca, frutto del collezionismo onnivoro ed eclettico del cardinale e soprattutto del suo giudizio critico nella scelta di opere d'arte, all'insegna della qualità e della bellezzaA partire dalla figura di Scipione Caffarelli Borghese (1577–1633), tra le personalità più significative del panorama culturale della Roma del Seicento, la mostra racconta la nascita di una nuova idea di collezionismo: sistematico, visionario, capace di anticipare il gusto e le tendenze artistiche del tempo.Attraverso una selezione di capolavori provenienti dalla Galleria Borghese – raramente esposti al pubblico – il percorso restituisce la straordinaria parabola di un collezionista che fece della sua raccolta un teatro del bello e della conoscenza.Tra i maestri presenti: Tiziano, Jacopo Bassano, Raffaello, Battista Dossi, Gian Lorenzo Bernini, Guido Reni.La mostra è accompagnata da un catalogo edito da Allemandi, con contributi scientifici a cura di Ettore Giovanati, con la partecipazione di Lucia Calzona e Antonio Iommelli. Un collezionista e mecenate leggendario si racconta attraverso i suoi capolavori, scelti con fiuto infallibile tra le opere dei più grandi artisti del Rinascimento e del Barocco: l'appuntamento è al Complesso Monumentale di San Francesco di Cuneo, che ospita una preziosa selezione di opere un tempo di proprietà del Cardinale Scipione Borghese. Il progetto nasce dalla collaborazione della Galleria Borghese con Gallerie d'Italia e Fondazione CRC, un'alleanza pubblico-privato nel segno della bellezza che mira a fare dell'arte un patrimonio vivo accessibile a tutti, coinvolgendo le comunità locali in un'esperienza di fruizione partecipata attraverso laboratori ed eventi per ogni fascia di pubblico. L'invito è a tornare più volte (l'ingresso è gratuito) per godere senza fretta dei gioielli del Cardinale, perché diventino occasioni di condivisione e nuova creatività. Francesca Cappelletti è direttrice della Galleria Borghese di Roma. Ha insegnato Storia dell'Arte Moderna e Storia dell'Arte dei Paesi Europei in diverse università italiane. Autrice di saggi e articoli sulla storia del collezionismo, con il suo lavoro ha contribuito al ritrovamento del dipinto di Caravaggio La cattura di Cristo, attualmente alla National Gallery di Dublino. Ha curato mostre e cataloghi in Italia e all'estero.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Hagood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Hagood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Hagood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stéphane Bern raconte, à l'occasion d'une grande exposition qui lui est consacré au Château de Versailles, le destin de l'artiste italien Gian Lorenzo Bernini – qu'en France on nomme plus simplement Le Bernin –, « le second Michel-Ange» à la fois sculpteur et architecte, qui a quitté, une seule fois dans sa vie l'Italie pour Paris, à la demande du jeune roi Louis XIV qui avait un double projet pour lui, et notamment celui de réaliser son portrait dans un buste de marbre qui va entrer dans l'Histoire… Pourquoi le buste de Louis XIV réalisé par Le Bernin est-il considéré comme un chef-d'œuvre ? Dans quel contexte a-t-il été réalisé ? Quelle relation le roi et l'artiste ont-ils tissée ? Pour en parler, Stéphane Bern reçoit Lionel Arsac, conservateur du patrimoine au château de Versailles, commissaire de l'exposition "Le génie et sa majesté : Louis XIV par le Bernin" (3 juin-28 septembre). Au Coeur de l'Histoire est réalisée par Celestin Muller. Rédaction en chef : Benjamin Delsol. Auteur du récit : Pierre-Vincent Letourneau. Journaliste : Armelle Thiberge.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Stéphane Bern raconte, à l'occasion d'une grande exposition qui lui est consacré au Château de Versailles, le destin de l'artiste italien Gian Lorenzo Bernini – qu'en France on nomme plus simplement Le Bernin –, « le second Michel-Ange» à la fois sculpteur et architecte, qui a quitté, une seule fois dans sa vie l'Italie pour Paris, à la demande du jeune roi Louis XIV qui avait un double projet pour lui, et notamment celui de réaliser son portrait dans un buste de marbre qui va entrer dans l'Histoire… Pourquoi le buste de Louis XIV réalisé par Le Bernin est-il considéré comme un chef-d'œuvre ? Dans quel contexte a-t-il été réalisé ? Quelle relation le roi et l'artiste ont-ils tissée ? Pour en parler, Stéphane Bern reçoit Lionel Arsac, conservateur du patrimoine au château de Versailles, commissaire de l'exposition "Le génie et sa majesté : Louis XIV par le Bernin" (3 juin-28 septembre). Au Coeur de l'Histoire est réalisée par Celestin Muller. Rédaction en chef : Benjamin Delsol. Auteur du récit : Pierre-Vincent Letourneau. Journaliste : Armelle Thiberge.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Biografia e opere di Francesco Borromini, architetto e scultore del Barocco romano. Formazione, le opere più importanti e la rivalità con il collega Gian Lorenzo Bernini.

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

¿Qué tal? Soy Jorge Bustos, bienvenido al mediodía de este miércoles 7 de mayo. Pues aquí estamos de nuevo, en Roma, en nuestro querido estudio Vaticano al aire libre, junto a la columnata de Gian Lorenzo Bernini. Se ha puesto a llover ahora mismo, pero está bien, porque eso lava los adoquines y hace que resplandezca el mármol de la ciudad eterna. La Guardia Suiza ya sabe nuestras caras, ¿eh? Ya se sabe nuestras caras sin necesidad de enseñarles la acreditación. Va a acabar montándonos una garita aquí a los de mediodía Cope. La va a llamar "Mezzo giorno" Cope. Pero es que aquí es donde hay ...

Francesco Borromini is celebrated as the greatest architectural genius of the Baroque age. This podcast shall examine his life, career, and rivalry with the great Gian Lorenzo Bernini. 

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 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.

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.”

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 1647, Gian Lorenzo began work on a monumental reliquary for an ancient wooden chair (“Cathedra Petri”) thought to have belonged to St. Peter himself.  The result was a spectacular ensemble of sculpture, gilded architecture, stained-glass and stucco that dominates the western apse of the great basilica.

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.

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.

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.

OOooooo yes, there is nothing we love more than some unhinged weirdness, and it definitely gets WEIRD in this episode! Come join us as we dive into the life of Baroque Bad Boy and all around weirdo Gian aka Gianny Lorenzo Bernininininininini.  There will be way too many PeN15s together in one sculpture, there will be extreme exhibitions of devotion to "THE CRAFT", there will be bedroom eyes and there will be love triangular DRAMA!!!! As usual, come for the art... stay for the tea!  WE LOVE YOU omg omg omg WE LYSM! Xoxo, The Baroque B's 

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.

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.

Season Two of Myths & Muses kicks off with the tale of a hero who lost it all and had to start again somewhere new! Aeneas rises from the ashes almost literally, leaving the destruction of Troy behind and setting off on an adventure that takes him all over the Mediterranean and even to the Underworld. Driving him all the way is his looming destiny: to found a nation whose legacy will last for millennia. All stories told on Myths & Muses are original family-friendly adaptations of ancient myths and legends. Stories from ancient mythology can also sometimes deal with complicated topics for young listeners — to the mortal parents and caretakers reading this, we encourage listening along with your young demigods to help them navigate those topics as they explore these epic tales. Transcript for Comeback Kids Episode 1 If you'd like to share your Comeback Kids story with us, get a Mortal Guardian to help you record it here! If you'd like to submit something creative you've done inspired by the stories in Myths & Muses, use this form (with a Mortal Guardian's permission!). ----more---- Stuff to Read:  Aeneas at Mythopedia and World History Encyclopedia The Underworld Adventure of Aeneas Aeneas's Trip to the Underworld Stuff to Watch:   Learn more about Aeneas with our curated YouTube playlist! Cool Images:  The Journey of Aeneas (by Simeon Netchev for World History Encyclopedia) Aeneas Carrying Anchises, black-figure pottery (c. 520 BCE) Aeneas, Anchises, and Ascanius, by Gian Lorenzo Bernini (1618) Aeneas Carrying His Father Anchises, by Ludolph Büsinck (1643) Aeneas Carrying Anchises, by Charles-Andre Van Loo (1729) The Meeting of Dido and Aeneas, by Nathaniel Dance-Holland (18th century)

Julie discusses the genius sculptor Gian Lorenzo Bernini's "David" which she encountered on a recent trip to Rome. To see her analyze his other statues, and discuss his background/life, please check out the videos on her YouTube page.Join Julie live Monday, Tuesday, and Wednesday at 1p PT, call in number: 844-861-5537Check out other Julie Hartman videos: https://www.youtube.com/@juliehartman Follow Julie Hartman on social media: Website: https://juliehartmanshow.com/Instagram: https://www.instagram.com/julierhartman/X: https://twitter.com/JulieRHartmanSee omnystudio.com/listener for privacy information.

Julie discusses the genius sculptor Gian Lorenzo Bernini's "Rape of Proserpina" which she encountered on a recent trip to Rome. To see her analyze his other statues, and discuss his background/life, please check out the videos on her YouTube page.Join Julie live Monday, Tuesday, and Wednesday at 1p PT, call in number: 844-861-5537Check out other Julie Hartman videos: https://www.youtube.com/@juliehartman Follow Julie Hartman on social media: Website: https://juliehartmanshow.com/Instagram: https://www.instagram.com/julierhartman/X: https://twitter.com/JulieRHartmanSee omnystudio.com/listener for privacy information.

Julie discusses the genius sculptor Gian Lorenzo Bernini whose work she encountered on a recent trip to Rome. To see her analyze his other statues, please check out the videos on her YouTube page.Join Julie live Monday, Tuesday, and Wednesday at 1p PT, call in number: 844-861-5537Check out other Julie Hartman videos: https://www.youtube.com/@juliehartman Follow Julie Hartman on social media: Website: https://juliehartmanshow.com/Instagram: https://www.instagram.com/julierhartman/X: https://twitter.com/JulieRHartmanSee omnystudio.com/listener for privacy information.

Join Julie live Monday, Tuesday, and Wednesday at 1p PT, call in number: 844-861-5537Check out other Julie Hartman videos: https://www.youtube.com/@juliehartman Follow Julie Hartman on social media: Website: https://juliehartmanshow.com/Instagram: https://www.instagram.com/julierhartman/X: https://twitter.com/JulieRHartmanSee omnystudio.com/listener for privacy information.

Propelled by the Catholic Church and the Counter-Reformation, 17th century Baroque art was pious, dramatic, theatrical and emotionally intense. Gian Lorenzo Bernini's sculptures typify these ideals, and showcase their maker's poetic mastery of material. Join our hosts as they discuss Bernini's sordid biography, and the key works he sculpted that will live in art history in perpetuity.

A daily news briefing from Catholic News Agency, powered by artificial intelligence. Ask your smart speaker to play “Catholic News,” or listen every morning wherever you get podcasts. www.catholicnewsagency.com - The Vatican announced on Thursday that the soaring baldacchino over the main altar of Saint Peter's Basilica designed by Gian Lorenzo Bernini 400 years ago will undergo a major restoration. The ambitious restoration and conservation project, expected to be completed just before the start of the Catholic Church's jubilee year in December, will require scaffolding to be set up around the canopy of the basilica's main altar for nearly a year. Cardinal Mauro Gambetti, the archpriest of Saint Peter's Basilica, has assured that papal liturgies will still be able to take place in the basilica amid the restoration work. The 700,000 euro (about $768,000) restoration is being funded by the Knights of Columbus and will be carried out by the Vatican Museums' expert art restorers. https://www.catholicnewsagency.com/news/256515/vatican-announces-major-restoration-project-in-st-peter-s-basilica The Dominican Church of Our Lady of the Hour, one of the most emblematic in Mosul, northern Iraq, has been completely restored after the destruction carried out by Islamic State terrorists 10 years ago. The church was rebuilt with the collaboration of the United Nations Educational, Scientific, and Cultural Organization (UNESCO). https://www.catholicnewsagency.com/news/256504/church-destroyed-by-isis-in-iraq-completely-restored-10-years-later In the midst of war and suffering, the Catholic faithful of Holy Family Parish in northern Gaza continue to walk in the light of faith. Eight children received their first holy Communion this past Sunday in the church. https://www.catholicnewsagency.com/news/256510/walking-in-faith-eight-children-receive-first-communion-in-northern-gaza The bishops of Ecuador published a statement titled “Violence will not prevail” following recent disturbances that occurred in the country including the takeover of a television station in the city of Guayaquil in the midst of a state of emergency that began on January 8. The bishops encouraged Ecuadorans not to fall “either into the fruitless panic that the game played by the violent [perpetrators] creates by giving credence to any alarmist image shared on social media, nor into the naivete of standing idly by believing that this fight is only for those who govern us.” https://www.catholicnewsagency.com/news/256502/ecuador-gang-violence-will-not-prevail-bishops-say The criminal sexual assault case against former cardinal Theodore McCarrick in Wisconsin has been suspended after a psychologist hired by the court found that McCarrick is not competent to stand trial. https://www.catholicnewsagency.com/news/256505/breaking-mccarrick-found-incompetent-to-stand-trial-in-wisconsin-case-suspended Today, the Church celebrates Saint Marguerite Bourgeoys, who not only founded a religious congregation, but was also instrumental in establishing the Canadian city of Montreal. https://www.catholicnewsagency.com/saint/st-marguerite-bourgeoys-114