https://www.spreaker.com/podcast/modena-si-mostra-church-of-st-pietro--7042629enArtsCopyright eArshttps://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/dcc74795780da36dbcabea9bf38a2f0a.jpghttps://www.spreaker.com/podcast/modena-si-mostra-church-of-st-pietro--7042629Fri, 05 Jun 2026 09:16:24 +0000eArseArsfeeds@spreaker.comfalseserialhttps://www.spreaker.com/episode/church-of-san-pietro--72364447It is in fact an abbey church, belonging to the Benedictine monastery, founded at the end of the 10th century and still active thanks to the monks. The link between monastery and church is already visible from the outside, where the church façade flows seamlessly into the outer wall of the complex. The façade also stands out from the Modenese context for other reasons. First of all for its form, which has remained unchanged since its construction in the mid-16th century, offering us a faithful image of Renaissance style. We see this in the arrangement of the outer walls that follows and hints at the height of the church naves behind them; and also in the capitals with the overlying terracotta frieze of distinctly classical inspiration. The frieze also features a truly unusual and rather rare motif: chained devils being carried by sea horses.
The abbey was a cultural centre not only for the monks who lived there, but for the entire city, absorbing and reflecting the artistic and intellectual influences of its time. This is reflected in the evolving architecture of the church, begun in 1476 and consecrated more than forty years later. 
While, as we have said, the façade is fully Renaissance in style, the interior still retains features typical of traditional medieval churches. For example, the very plan of the building is structured in the Gothic style: divided into five naves, with the outer two reserved for private chapels.
This layering of styles not only reveals the influence of the monks - constantly up to date with artistic trends - but also the construction practices of the time. In those days, different craftsmen worked side by side on the same building, not guided, as today, by the single vision of an architect, but rather by patrons and craft traditions.
Now, as you walk through this architectural journey, let us turn to Antonio Begarelli, the 16th-century sculptor who… but no, let’s stop here for the moment. To learn more about him, the next audio guides dedicated to his sculptures await you.]]>https://api.spreaker.com/episode/72364447Fri, 05 Jun 2026 09:12:09 +0000eArsWere you already familiar with this church? Today it is not an obvious question, since it is slightly far out from the city centre and open mainly for religious services. But is a treasure really a treasure if it is not at least partially hidden?San...It is in fact an abbey church, belonging to the Benedictine monastery, founded at the end of the 10th century and still active thanks to the monks. The link between monastery and church is already visible from the outside, where the church façade flows seamlessly into the outer wall of the complex. The façade also stands out from the Modenese context for other reasons. First of all for its form, which has remained unchanged since its construction in the mid-16th century, offering us a faithful image of Renaissance style. We see this in the arrangement of the outer walls that follows and hints at the height of the church naves behind them; and also in the capitals with the overlying terracotta frieze of distinctly classical inspiration. The frieze also features a truly unusual and rather rare motif: chained devils being carried by sea horses.
The abbey was a cultural centre not only for the monks who lived there, but for the entire city, absorbing and reflecting the artistic and intellectual influences of its time. This is reflected in the evolving architecture of the church, begun in 1476 and consecrated more than forty years later. 
While, as we have said, the façade is fully Renaissance in style, the interior still retains features typical of traditional medieval churches. For example, the very plan of the building is structured in the Gothic style: divided into five naves, with the outer two reserved for private chapels.
This layering of styles not only reveals the influence of the monks - constantly up to date with artistic trends - but also the construction practices of the time. In those days, different craftsmen worked side by side on the same building, not guided, as today, by the single vision of an architect, but rather by patrons and craft traditions.
Now, as you walk through this architectural journey, let us turn to Antonio Begarelli, the 16th-century sculptor who… but no, let’s stop here for the moment. To learn more about him, the next audio guides dedicated to his sculptures await you.]]>190falsefullhttps://www.spreaker.com/episode/the-statues-of-the-nave--72364448Not only that, these works, dating between 1528 and 1542, did not all originally share the same location. Starting from the entrance, the first two - depicting St Francis and St Bonaventure - were originally located in the Church of San Francesco in Modena. The other four were indeed made for this abbey complex, but were initially placed in the monks' dormitory.
This detail is not merely an interesting historical fact; it helps us understand the style of the works.
Stand in the centre of the four sculptures towards the apse. These depict the Virgin and Child, St Justine, St Benedict and St Peter. Now imagine them in their first location: the abbey dormitory. The Benedictine monks, in silent contemplation, would raise their gaze toward them, while the saints returned that gaze with solemnity. They appear like apparitions from the divine realm, their garments still seeming to move in the winds that blow through the heights of Paradise. They are statues designed for an intimate dialogue between monk and divine, within a private space dedicated to meditation and spirituality.
Now return toward the entrance and look at St Francis and St Bonaventure. Do you notice any differences? For example, look how the folds of the garments are less airy, so much so that Saint Bonaventure must hold his habit to keep it from touching the ground. Their more austere character suits their original location, behind the altar of the church of San Francesco. There, the dialogue is no longer intimate, but more distant and extended to all participants in the liturgy. We no longer have apparitions, but statues in their own right, becoming focal points for the community of the faithful. It is no coincidence that they depict the cardinal saints of the Franciscan order, to which the church once belonged.
Already in the 16th century, artists clearly understood the importance of the space that would house a work and the audience it was meant to address. They were not only skilled craftsmen but, as we might say today, almost experts in marketing.]]>https://api.spreaker.com/episode/72364448Fri, 05 Jun 2026 09:12:43 +0000eArsIt is customary to say of a statue, in a metaphorical sense, that it looks alive or even seems to move. You may be surprised to learn that, far more often than one might think, statues really do move—not figuratively, but in a literal sense. This is...Not only that, these works, dating between 1528 and 1542, did not all originally share the same location. Starting from the entrance, the first two - depicting St Francis and St Bonaventure - were originally located in the Church of San Francesco in Modena. The other four were indeed made for this abbey complex, but were initially placed in the monks' dormitory.
This detail is not merely an interesting historical fact; it helps us understand the style of the works.
Stand in the centre of the four sculptures towards the apse. These depict the Virgin and Child, St Justine, St Benedict and St Peter. Now imagine them in their first location: the abbey dormitory. The Benedictine monks, in silent contemplation, would raise their gaze toward them, while the saints returned that gaze with solemnity. They appear like apparitions from the divine realm, their garments still seeming to move in the winds that blow through the heights of Paradise. They are statues designed for an intimate dialogue between monk and divine, within a private space dedicated to meditation and spirituality.
Now return toward the entrance and look at St Francis and St Bonaventure. Do you notice any differences? For example, look how the folds of the garments are less airy, so much so that Saint Bonaventure must hold his habit to keep it from touching the ground. Their more austere character suits their original location, behind the altar of the church of San Francesco. There, the dialogue is no longer intimate, but more distant and extended to all participants in the liturgy. We no longer have apparitions, but statues in their own right, becoming focal points for the community of the faithful. It is no coincidence that they depict the cardinal saints of the Franciscan order, to which the church once belonged.
Already in the 16th century, artists clearly understood the importance of the space that would house a work and the audience it was meant to address. They were not only skilled craftsmen but, as we might say today, almost experts in marketing.]]>199falsefullhttps://www.spreaker.com/episode/pieta--72364469https://api.spreaker.com/episode/72364469Fri, 05 Jun 2026 09:13:48 +0000eArsWhen we speak of Classical or Renaissance sculpture, it is almost natural to think of marble. Certainly not of humble terracotta, with which Antonio Begarelli made the sculptures in this church. In the area around Modena, the lack of marble quarries...100falsefullhttps://www.spreaker.com/episode/ancona-or-altare-delle-statue--72364444In this majestic work, Begarelli uses sculpture, instead of drawing and the usual pictorial techniques, to create an altarpiece. As proof of this we know that, in the initial plan, the four figures of Saints Peter, Paul, Geminianus and Benedict, at the base of the composition were intended to be painted in natural colours, and not left white in imitation of marble as was usually the case and as planned for the Virgin in glory above them. Furthermore, the decorative framework enclosing the sculptural group enhances the impression of an isolated image, framed much like a painting. Sculpture thus becomes painting through both chromatic and compositional choices.
The work, however, was not completed according to its original design due to the artist's death in 1565, although it was later continued by his nephew Ludovico and other sculptors.
It was the master's last work for the Monastery of San Pietro. And Antonio Begarelli is still here. The space that once occupied the altar has housed his tomb since the end of the 19th century. The master rests beside his unfinished work and leaves us with a lingering doubt: what finishing touch might he have added to this majestic altarpiece?]]>https://api.spreaker.com/episode/72364444Fri, 05 Jun 2026 09:14:33 +0000eArsYou have surely already seen many altarpieces. Those sacred paintings, often on wooden panels, which in the Middle Ages and Renaissance were placed above or behind altars. In this majestic work, Begarelli uses sculpture, instead of drawing and the...In this majestic work, Begarelli uses sculpture, instead of drawing and the usual pictorial techniques, to create an altarpiece. As proof of this we know that, in the initial plan, the four figures of Saints Peter, Paul, Geminianus and Benedict, at the base of the composition were intended to be painted in natural colours, and not left white in imitation of marble as was usually the case and as planned for the Virgin in glory above them. Furthermore, the decorative framework enclosing the sculptural group enhances the impression of an isolated image, framed much like a painting. Sculpture thus becomes painting through both chromatic and compositional choices.
The work, however, was not completed according to its original design due to the artist's death in 1565, although it was later continued by his nephew Ludovico and other sculptors.
It was the master's last work for the Monastery of San Pietro. And Antonio Begarelli is still here. The space that once occupied the altar has housed his tomb since the end of the 19th century. The master rests beside his unfinished work and leaves us with a lingering doubt: what finishing touch might he have added to this majestic altarpiece?]]>110falsefullhttps://www.spreaker.com/episode/museum-of-sacred-art--72364449https://api.spreaker.com/episode/72364449Fri, 05 Jun 2026 09:15:10 +0000eArsThe Church of San Pietro is flanked by the Museum of Sacred Art: a veritable collection of treasures which, through their splendour and symbolic power, have enriched the place of worship throughout its history. The reconstruction of the altar erected...158falsefullhttps://www.spreaker.com/episode/sacristy--72364446https://api.spreaker.com/episode/72364446Fri, 05 Jun 2026 09:15:30 +0000eArsAn atmosphere of Renaissance sacredness fills the solemn sacristy of the Church of San Pietro built from 1538 onwards. The large rectangular hall is entirely covered by a vault, designed in 1578 by Girolamo da Vignola, and painted with intertwining...148falsefullhttps://www.spreaker.com/episode/frescoed-corridor-chapter-hall-and-fountain-courtyard--72364445https://api.spreaker.com/episode/72364445Fri, 05 Jun 2026 09:16:08 +0000eArsWhen Italians talk about “being generous” they say that they have long sleeves, literally “essere di manica larga”. If this is true, we could say that the Church of San Pietro had a sleeve that was… very long indeed. Although today it is interrupted...170falsefull