
Creation of Adam
God surges out of a red cloak full of angels, and Michelangelo leaves the fingers not quite touching. The gap does the work.

God surges out of a red cloak full of angels, and Michelangelo leaves the fingers not quite touching. The gap does the work.

Plato and Aristotle argue at the center of a hall where Raphael gave the philosophers the faces of Leonardo, Michelangelo and Bramante.

Bernini staged the saint's own account of her vision as theater, lit from a window he hid above and watched by marble spectators in boxes.

The dead Christ lies across his mother's lap. Michelangelo was twenty-four, and signed the sash after hearing it credited to someone else.

Bernini was in his mid-twenties when he cut this, catching Daphne at the moment bark closes over her thigh and leaves push from her fingers.

Light follows Christ's pointing hand across a dim counting-room to Matthew, who gestures at himself in disbelief. The picture made Caravaggio famous overnight.

Bartholomew holds his own flayed skin, and the sagging face on it is Michelangelo's. The nudes offended enough critics that drapery was added later.

Velázquez caught every wary line in the pope's face, and Innocent reportedly said it was troppo vero, too true. Francis Bacon reworked it for years.

Pliny ranked it above every other work of art, and when it came out of a Roman vineyard in 1506 Michelangelo hurried over to look.

Raphael left it unfinished when he died in 1520, and it was hung above his body while he lay in state.

Caravaggio's first attempt at the subject, turned down by the patron, before he threw out the angels and left one man, one horse and the light.

Bernini put the viewer where Goliath must be standing, so the sling is being wound up to throw straight past your head.

The horns come from an old mistranslation of the Hebrew for rays of light. He was meant as one figure among many on a papal tomb.

Three laborers strain to lever the cross upright with Peter nailed to it upside down. No crowd, no glory, just heavy work in the dark.

The corner of the stone slab juts out of the picture so the body looks about to be laid down in the room with you.

Two moments in one field: Adam and Eve reaching for the fruit, then driven out, suddenly old. The serpent has a woman's torso.

Two women sit at either end of a sarcophagus full of water, and it is the naked one who stands for sacred love.

Myron's bronze is lost and this is a Roman marble copy, which is why a strut props the leg the original held up unaided.

Asked where he found so beautiful a model, Raphael said he worked instead from a certain idea of beauty he carried in his head.

The holy family is tiny and the landscape does everything, which is the arrangement Poussin and Claude would build whole careers on.