Um, so I want to get into obviously, La Pieve and all of the ramifications and all of the fascinating aspects that you've discovered and written about, but my first question is why do you think that has been as overlooked as it has been?

Um, that's an excellent question.

It's mostly because of what happened to the Church of the Pieve.

A- well, A, it's Arezzo, and so Arezzo, just because it was under Florentine rule at the time, it has always been kind of marginalized, much like Vasari himself, um, in terms of his, his artistic production.

Um, the Pieve, and I talk about this, um, in my book, especially in the last chapter, it was renovated, um, in the late 19th century, so from about the 18- through the 1860s into the 1870s.

Um, what the renovators wanted to do was to take the church back to what they thought it looked like before Vasari did his own renovation of the church.

Um, so it was during a period when neo-medievalizing was very fashionable.

And you also mentioned that Vasari had, of course, been the architect of the monument for Michelangelo, and perhaps you can say a little bit more about how your work on exploring Vasari's end brought in some of these larger pictures, uh, about the, the changing role of the artist in his contemporary society.