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The article examines the Dutch Renaissance painter Pieter Bruegel the Elder. Particular focus is given to his travels throughout Italy between 1552 and 1555. Additional topics discussed include travel conditions and motives for the artist, the artist's work in ink drawing and Bruegel's time spent in Rome, Italy.

The article discusses the painting "Penitent Magdalen" created by Titian for Vittoria Colonna, the marchesa del Vasto, as a piece of devotional artwork. The author focuses on depictions of human flesh in religious works of art and their meaning to female audiences. The use of physical language and bodily imagery to express the Renaissance female religious experience is explored. The use of Saint Mary Magdalen as a model for penitence in Renaissance art is discussed and her popularity within the cult of saints is also examined.

The article presents several art collections, inspired by Petrarch' Triumph, of Matthäus Greuter. Accordingly, Greuter has created an allegorical poem and it was successfully patronized in Italy in 15th and 16th century. In addition, his allegorical poem has been translated into several languages including French, Spanish, and English. His poem was inspired by his several art collections which consist of paintings, tapestries, and engravings. Greuter's painting collection "The Triumphs of Love, Chastity and Death and of Fame, Time and Eternity" has inspired several works of art.

The article features the "St Roch," designed by Titian which has long been acknowledged as one of the outstanding woodcuts of the Italian Renaissance. Artist David Rosand describes it as a document of popular piety, conceived as an altarpiece. The document reveals that Rosand's characterization of the woodcut as an altarpiece is apt, as is his emphasis on the pious, rather than aesthetic, value accorded it by its first viewers. Titian's St Roch was not intended for a strictly Venetian audience, nor was it meant primarily for display on the walls and doors of Venetian households.