{"type":"rich","version":"1.0","provider_name":"Transistor","provider_url":"https://transistor.fm","author_name":"The Reformation before the Reformation","title":"Ep. 6 (169) – Sigismund, the (not yet) Emperor","html":"","width":"100%","height":180,"duration":2743,"description":"The late 14th and early 15th century was a period of upheaval, the certainties of the Middle Ages, that the pope ruled the world and that knights were invincible were crumbling away, the long period of economic growth, of eastward expansion and conversion of the pagans made way for war, plague and famine. The church was split in half and the Ottomans were coming.\nThis was an age that called forth larger-than-life characters: Joan of Arc, fierce and holy; Henry Bolingbroke, seizing a throne; Jadwiga and Jogaila, uniting kingdoms; the audacious Gian Galeazzo Visconti and fiery Cola di Rienzo; the ever-scheming John the Fearless and Jacob van Artevelde; the tragic Ines de Castro and the unflinching Jan Žižka.\nInto this glittering and turbulent lineup steps a man whose reputation has not exactly been polished by time. Despised in his kingdoms of Hungary and Bohemia and even Constance, the city that owes him so much, decided to remember him as a fat naked crowned guy with skinny arms and legs, worn-out face, forked beard and disproportionate genitalia balancing on the hand of a nine-meter-tall sex worker. No, I am not making this up.\nSigismund, because that was his name, was a true enigma of the late Middle Ages. He had inherited his father’s charm and ruthless cunning, his knack for negotiating compromise in impossible situations, and his unshakeable belief in his role as the head of Christendom. But what he hadn’t inherited was his father’s performative piety, his zeal for relics, his asceticism—or his wealth.\nInstead, Sigismund was left with a volatile mix of ambition, enormous self-confidence, a lust for life, and, crucially, a chronic shortage of funds. Yet despite his flaws, he took on Christendom’s two greatest crises—the schism and the Ottoman threat—and in doing so, managed to create a third…This is his backstory.\nThe music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach)...","thumbnail_url":"https://img.transistorcdn.com/s9-kQ7sMyuIP0jX2zDYHCH_bwAHi4JDbSHdSLqn7aIE/rs:fill:0:0:1/w:400/h:400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8yYTg4/YzJjMGNmNjY2ZTU4/NTAzODc0M2VmMjU0/ODhmMy5qcGc.webp","thumbnail_width":300,"thumbnail_height":300}