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Piero Della Francesca:
‘Divine perspective’
c. 1415 - 1492

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Piero della Francesca
•Born c. 1410/20 in Borgo San Sepolchro and worked as assistant to Antonio d’Anghiari There. After
the Papal annexation of the Malatesta lands in 1430, he moved to Perugia and is documented
alongside his master, Domenico Veneziano in a payment for frescoes in the Choir of San Egidio,
Florence, dated Sept. 1439. Both artists were drawn to the experimental style of the Florentine
painter Masaccio. Veneziano probably introduced him to his master, in Florence.
•Through him he was introduced to the close study of details of hair, fur and drapery, and copying
Classical archeological artefacts with precision (medals, cameos, armour, architectural friezes,
seals etc)
•Vasari notes he” attended to mathematics in his youth, and later to painting”.
•Earliest experience in painting heraldic flags of Pope Eugenius’s coat of arms for the gates of
the city - not insignificant (bold symmetry, two-dimensional geometry, flat colours)
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Piero della Francesca
•The Council of Florence in 1439 brought the Eastern Patriarchs to discuss the reunification of the
Greek and Roman Church. They brought with them Greek texts - Sophocles, Euclid, Plato, Aristotle
hitherto unknown in Italy.
•Florentine artists and scholars began the first collections of Classical antiquities, visible to
Piero and others for the first time, and Piero was able to study Ghiberti’s groundbreaking use of
Perspective and Alberti’s “Treatise on Painting” from which it derived.
•From Alberti, Piero took the invitation to follow Masaccio (then dead for 11 years), in using
perspective and composition, to rival the Ancients, and to paint with due dignity and decorum (not
making the Saints “look like ham actors” with an excess of gesture)
•In 1442 he was elected Town Councillor at Borgo San Sepolcro, and in 1445, the Confraternity of
the Miseracordia there commissioned him to paint a polyptych for the altar, to be completed by
1448.
•Visited Urbino around 1444/8 when Oddantonio da Montefeltro was murdered - an event which was
oncebelieved to form the subject of his early allegorical masterwork, “The Flagellation of Christ’.
•Earliest works include the “Baptism of Christ” (London) and the “St Jerome” (Venice).

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Baptism of Christ, c. 1445/51,
National Gallery, London
•Tempera on Panel, 167 x 116 cm
•Painted for the Priory of San Giovanni Battista, Borgo San Sepolcro.
•Initially a circular panel of God the Father was above and the sides had additional panels
•Monumental stillness, geometry, frontal arrangement
•Figure of Christ is separated and delineated distinctly from St John - they do no touch. Halo
created by bowl.
•Angels derive from Nano di Banco’s ‘Four Saints’ in Orsanmichele, Florence.
•Trees in foreground/background create perspective recession, and hang over us like doubt.
•Iconography of the wood introduced by Donatello but of course is known from Dante’s ‘selva scura’,
•The river flows before, but ceases and is still after, the Baptism. This puzzles the learned men
on the right, but not the neophyte who eagerly prepares to follow - intellection causing doubt,
which faith does not. Their robes are brighter in the water than in life.
•The light, which difuses all: from the Gospel of St John “In the Word was Life and Life was the
light of Men.”
•True landscape assimilates San Sepolcro to Jerusalem.
•Elements of the distant landscape become formal elements of the 2-dimensional composition
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Madonna della Misericordia,
1444 - 61, Sansepolcro, Museo Civico
•Tempera on Board
•Piero’s first documented work: the commission stipulated it must be completed by the end of 1448,
at a price of 150 gold Florins. In fact it was probably completed much later, towards 1461)
•Piero’s hand is clear in the figure of the Virgin here (as well as in the Four Saints on side
panels, and the Annunciation in the lower panes)
•Style moves from an early influence of Masaccio’s new ‘monumental realism’ towards a lighter
atmospheric harmony of colour.
•Contains an early self-portrait in the kneeling figure in the rear left.
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Madonna della Misericordia,
1444 - 61, Sansepolcro, Museo Civico
•Compositional diagram: Used a grid structure, dividing the base into 6 units, constructing the
grid on their square. The length of the side of each square is the length of St Sebastian’s upper
arm  (follows Alberti)
•Sheltering cloak of the Church protects the pious patrons and the faithful.
•‘Mystic’ vanishing point locates the origin of Christ. Moved slightly to the right to break the
severity of the perspective.
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Piero della Francesca
•Visited Urbino around 1444/8 when Oddantonio da Montefeltro was killed.
•Journeyed to Ferrara (1449) and to Rimini (1451), closely followed Alberti, who probably
recommended him to Lionello d’ Este and Malatesta.
•When the Florentine painter, Bicci di Lorenzo died in 1452, Piero was called to finish the cycle
of frescos in San Francesco in Arezzo representing the “Legend of the True Cross”.
•Work at Arezzo lasted 7-8 years, during which time he was commissioned to produce an altarpiece
for the Altar at Sant’Agostino in Borgo (1459), and probably traveled to Rome (Vasari) to meet Pope
Nicholas V (d.1455). In Rome he painted two cycles of frescos, but none survive.
•The frescos in Arezzo were completed by 1459, and are recorded as ‘bringing glory to the artist’

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Legend of the True Cross
Arrival of the Queen of Sheba,1452-59,
San Francesco, Arezzo.
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Legend of the True Cross
•Decoration of the Choir begun in 1447 by Bicci di Lorenzo, and interrupted by his death in 1452.
Piero began work soon after and completed it before his journey to Rome in 1459. Paintings on the
left show more evidence of the use of assistants.
•Depicts revelation of Queen of Sheba, en route to Jerusalem, that the bridge over the river Shiloh
was built from the wood from which the Cross would be made, and knelt before it in adoration. The
scene on the right shows her meeting Solomon to whom she imparts her revelation.
•Composition organised as a double square, divided where the perspective lines of the roof meet the
ground.

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Legend of the True Cross
•Having learned from Judas where the crosses were buried, St Helen had them disinterred (left) and
was able to recognise the Cross of Christ by touching the body of a young man, who miraculously
came back to life.
• The fresco is largely by Piero’s own hand.

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Legend of the True Cross
 Discovery & Proving of The True Cross, 1452-59,
San Francesco, Arezzo
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‘Resurrection of the Young Man’ 1444 - 1450
•Plan of the visible area in the ‘Resurrection of the Young Man’ in the frescoes in San Francesco,
Arezzo (A.Martone in O.Calabrese, 1984)
•Vitruvius - there are several types of architectural setting, suitable for the various forms of
Theatre - ‘Tragedy’ is characterised by ‘columns, pediments, statues, and other regal
appurtenances.’
•City being described is Jerusalem, with architectural details correct for the Roman period of
Christ’s Passion.
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The Annunciation of the Death of the Virgin, San Francesco, Arezzo
•Fresco, San Francesco, Arezzo.(The Legend of the True Cross)
•Not an Annunciation of the Birth of Christ as usually depicted.
•“In these frescoes, the moment of existence is arrested so completely that the human and
historical significance of the action seems in itself to comprise an essential immobility, as if,
having reached the limit of narrative possibilities.” (Busignani, 1967)
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Piero della Francesca
•In 1450 he wrote a ‘Treatise on the Abacus’ which gives evidence of his practical, trading and
accounting experience. His family was wealthy from the production of Indigo, and Piero himself
invested in land, farmed by tenant farmers. Unlike most of his contemporary artists, Piero’s
financial and civic positions were very stable.
•Returned to Borgo in 1466 and in 1467 he was appointed to various public offices;
•Around 1474 he appears to be in Urbino to paint the Sinigallia Madonna and the Brera Alarpiece.
•In 1482 he was in Rimini probably to begin a work of long duration(he rented a house with garden
and well) but nothing seems to have come of it, probably owing to the onset of the blindness of
which Vasari speaks, and is confirmed by the testimony of Marco di Longaro: “When this Maestro was
a boy, he led by the hand master Piero della Francesca, an excellent painter, who had gone blind..”
•His death is recorded in the Book of the Dead of the Brotherhood of San Sepolcro, as occurring on
12th October 1492.

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The Flagellation, Urbino,
c 1450, Galleria Nazionale delle Marche
•Formerly in the Sacristy of the Duomo of Urbino. Tempera on Board 58 x 81 cm
•Traditionally associated with the Serafini conspiracy, when Oddantonio da Montefeltro was
assassinated (1444). He was thought to be the fair-haired man on the right, flanked by his father
and a representative of the Eastern Church (formerly thought to be his evil counsellors, Manfredo
Pio and Tommasodell’Angelo) but now thought to represent a meditation on suffering and loss.
•Council of Florence/Ferrarra 1439 discussed the reunification of the Roman with the Greek Orthodox
Church after centuries of Schism, at a time when Florence was taking the lead in the revival of
Greek culture.
•Pisanello had made one of the last Classical Medals representing Emperor John Paleologus of
Constantinople, who visited Italy for the Council of Florence, while Piero was training in
Florence.

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Jacopo Bellini, ‘Flagellation’, drawing, Louvre, Paris.
•Set in a striking architectural framework with a strong use of perspective to draw attention to
the scene, happening in the background
•Figures in the foreground are ‘incidental’, giving scale and location to the action.
•Also includes figures, Oriental types, Byzantine functionaries and contemporary men to give
historical and geographical context to the scene.
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Lorenzo Ghiberti, Jacob & Esau, Gates of Paradise, Florence, Baptistery.
•Ghiberti showed that using Brunelleschi’s new perspective, the architecture could emphasise the
different roles of the figures in the overall composition, and how even ‘diminished’ figures could
be protagonists.
•Moves the architecture back and gives prominence to the figures in the foreground.
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Luca Signorelli, The Flagellation, Pinacoteca di Brera, Milan
•Fresco
•Pupil and assistant to Piero
•Echos Piero’s composition.
•Play of words on the genitive of his name:‘ Luce’ and ‘Light’ emanating from the column.
•“Light is the secret theme and revealer of all in Piero’s paintings” (Bertelli) .
•The Flagellation was a night scene, and Piero incorporates two light sources inside and out to
separate the two sections of the composition. The hand of the Easter figure in the turban is
illuminated by what can only be a lamp.
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Campanile of Sant’Angostino, Rimini
•Venetian style decoration of the bell tower is echoed in the balustrades of the staircase in the
left courtyard of Herod’s Praetorium in the ‘Flagellation’
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Flagellation: Herod
•Staircase in the courtyard has Venetian balustrade, recalling the bell tower of San Agostino da
Rimini.
•‘Divine’ illumination from above suggesting Heaven
•Pointed hat refers ot Emperor John Paleologus of Constantinople (signifying ‘The East’)
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The Flagellation, 1444-50 detail,
Galleria Nazionale delle Marche,Urbino
•(Detail) Tempera on Board, 58 x 81 cms
•‘Triumph’ through ‘Fortitude’ Symbolic figure - representing the triumph of Christ’s Passion
through suffering and endurance.  Modeled on Roman allegorical figures of Fortitude and Victory.
•The gold and brightness also represent “Sol” (the Sun, symbol of life and resurrection.
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Flagellation 1444-50 (detail)
•Detail
•Merchant’s house underlines the regal aspect of the Palace.
•Garden Wall is frescoed in the Northern Italian style and refers to the plinth in the Tempio
Malatestiano, in Rimini
•Figure in the turban to the left links to the Turbanned figure (Arab) in the Praetorium  who
observes the Flagellation and acts as  an intermediary between the (past) moonlit scene on the left
and the daylight present, interpreting the mysteries of the Passion for the figure on the right
(Greek). One watches Christ’s Passion, the other contemplates the mystery of the Resurrection and
communicates it to the furthest figure on the right.
•Fates of Christian and Roman Empires intertwined
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Frieze on the exterior of San Frescesco, Rimini
•Incorporated into the decoration of the walled garden of the Flagellation (runs four times round).
•Classically inspired motifs by Jacopo della Pergola, derived from illuminations for Codices
belonging to Malatesta Novello - Sigismondo’s brother and Lord of Cesena.
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Flagellation 1444-1450 (detail)
•Painted frieze echoing the Classically inspired motif on San Franceso, Rimini.
•The marriage between Roberto Malatesta and Elisabetta da Montefeltro (Federico’s daughter) in
1471, signified the end of a long feud between the two families and the inscription from the Book
of Psalms, ‘Converunt in unum’ (‘that two should become one’) may refer to this, or to the union of
the Christian Church, split between East & West by Schism which the Council of Florence had tried
to resolve.
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Visible area of the Flagellation
•Diagram of the visible area in the Flagellation by M. Aronberg Lavin 1981
•In the 11th century, the the Holy Column in Jerusalem (the “omphalos’) was enclosed by an aedicule
surmounted by a mosaic with an inscription which read: The sole of my foot is the measure for the
sky and for the earth.”
•The foot of the main protagonist in the foreground measures exactly the ‘foot’ width of a tile on
the marble floor. And from this measure, we are able to calculate precisely, the distance from the
front picture plane to the rear wall of the ‘Hortus Conclusus’ the walled garden enclosing the
Praetorium of Herod, thus humanising Christ’s divinity as the ‘measure’ of the world.
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M. Aronberg Lavin, 1981
•Plan & Elevation Areas of light and shade in the Flagellation
•Plan & Elevation of the foreground and Praetorium in the ‘Flagellation’:
•(B.A.R Carter & R. Wittkower, 1953)
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Flagellation 1444 -1450
•The Flagellation with the bound Christ and Roman soldiers -
•Herod had Christ whipped in the Praetorium of his palace. Column was later moved to the Church of
Syon.
•Column is Ionic (which Vitruvius considered ‘feminine’) Following the destruction of Jerusalem by
Titus, and its rebuilding by Hadrian, a single column became its symbol.(“Aelia Capitolina”), and
from ‘Aelia’ it was later corrupted to ‘Helia’ (‘Sun’). The light sources in Piero’s painting are
double. One inside and one outside the Praetorium.
•Bede notes that the sun placed itself on the top of this column during the summer solstice, thus
reinforcing its reputation as a Holy place.
• pavement pattern seen clearly only from above (God’s perspective). The porphyry disk at the base
of the column represents the ‘Omphalos’, the centre of the world.
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Flagellation, detail
•Column also marked an historical event.
•It was the very place where “a youth had been called back to life on being touched by the Lord’s
Cross” - the same miracle that Piero had painted in the Arezzo ‘Miracle of the True Cross’
•From St Ambrose: the ‘omphalos’ was placed between the ‘Anastasis’ and the ‘Martyrion’:
•“The venerable court of the Holy Sepulchre is paved in marble. There are four columns. It was
there that the cross was placed on the dead man, who returned to life”.
•According to the ‘Typicon of the Church of Jerusalem’, the Easter procession moved through the
Holy Garden and stopped at the ‘centre of the earth’ (the ‘omphalos’- where Pilate had Christ
whipped) before moving on to Golgotha.
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De Prospettiva Dipingendi, Biblioteca Ambrosiana, col S.P.6, fol. 25v
•C.1470
•Dedicated to Federico  da Montefeltro - Piero’s second Treatise.  Designed as a sequel to
Alberti’s ‘Treatise on Painting’. Combines Piero’s fascination with mathematics and the revelation
of a Divine order underlying the world of visible appearances.
•Practical notes and exercises for painters.
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Resurrection, c. 1459/69,
Museo Civico, Borgo San Sepolcro
•Fresco & Tempera, c 200 x 225 cm
•Probably executed after Piero’s return from Rome in 1459.
•Vasari called this, “The best of the works which are in that city, and of all his works”
•Had a civic function rather than liturgical, in the Town Hall, and adopted as the Seal of the City
(Holy Sepulchre)  in the 16th Century.
•Iconographically linked to earlier depictions by Nicola di Segna in San Sepolchro Cathedral and
his own earlier depiction of Christ in the triptych of San Giovanni Battista.
•Severe and calm symmetry
•Reflection on pain, experience and endurance.
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Madonna del Parto, c. 1467,
Monterchi, Sta Maria a Nomentana
•Detached fresco, 206 x 203 cm
•Probably dates from Piero’s first Arezzo period, soon after his return from Rimini.
•Pier Francesco Fiorentino copied composition in Certaldo 1467. Functioned as an illusory apse in
the chapel.
•Symmetry & reversed cartoon of Angels in complementary colours.
•Subject not so rare in past: Banned in Counter Reformation
•Painted over a similar 14th Century fresco.
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Sigismondo Pandolfo Malatesta,
c.1452, Louvre, Paris.
•Oil & Tempera on Panel, 44 x 34 cm
•Panel uses same cartoon as fresco in Rimini (1451) but lacks the correction made to Sigismondo’s
hair- Piero reserved the right to alter a portrait after the initial sitting, and the sitter was
unlikely to grant a second sitting, hence the use of a cartoon.
•Oil paint allows for subtler veils and transparencies (hint of a beard on the chin) than
tempera/fresco.
•Severe geometry, cameo like appearance refers to Roman emperors
•Commissioned at tempestuous moment in Malatesta’s life: Action against him by Pope Pius II,
Federico da Montefeltro, Francesco Sforza and Alfonso of Aragon was in full swing and the sentence
passed against him in the trial prepared by Nicola Cusano resulted in the burning of his effigy.
•Portrait expresses his pride and determination to claim legitimacy for his powers:
•“But I see your face that inspires severity, your frowning eyes’ (Pius II).
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Brera Altarpiece, c 1475,
(Montefeltro Altarpiece) Pinacoteca di Brera, Milan.
•Oil on panel, 248 x 170 cm
•Represents the Virgin enthroned, surrounded by four angels and St John the Baptist, St Bernardine,
St Jerome (left) and St Francis, St Peter Martyr, and St Andrew (right). Federigo da Montefeltro is
shown in the act of prayer.
•Luca Pacioli (b. 1445 is said to be depicted as St Peter the Martyr). Some work by Pedro
Berruguete in the Duke’s hands and the helmet on the ground (Longhi)
•Painted for the Tomb of Montefeltro and uses same cartoon as famous Diptych of the Duke and his
wife.
•Commissioned as an act of contrition and remorse by Federigo following an amorous encounter which
left him injured in a jousting accident.
•Saints show a proliferation of blood and physical injuries.
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Brera Altarpiece, c 1475,
Pinacoteca di Brera, Milan.
•Compositional Diagram, (by Marcella Sortegni) showing multiple vanishing points and main
correlating axes
•High horizon line through the eyes of the Madonna and Saints discourages the spectator (below)
from imagining the illusionistic space extends into their own.
•Mystical Ostrich egg: (Eastern) symbol of fecundity, origin of the Church, aligned with the womb
of the Virgin, and main vanishing points.
•Madonna’s robe is lined with lamb’s wool on which the infant rests - reference to the sacrifice of
the Crucifixion
•His mother’s knee is the Altar, there is no other depicted.
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Brera Altarpiece, detail, c.1475 Pinacoteca di Brera
•Tempera on Panel
•Detail of the edge of the Virgin’s robe and the perspective recession of the carpet.
•Carpet design reveals a large star on which the Madonna is centred, only ‘visible’ by deduction
and from ‘above’ , but all the information needed to reconstruct it is given perspectivally.
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Brera Altarpiece, c 1475,
Pinacoteca di Brera, Milan.
•Details of hair, jewellery and decoration.
•Showing fineness of detailing and precision of brushwork and textures.
•Rock Crystal Cross, typical of the Veneto, is a metaphor of the luminous character of divine
truth.
•Point by point, Piero describes the anamporhic qualities of light reflected off a variety of
surfaces.
•The Duke’s damaged helmet, depicted twice - in the foreground and in the marquetry of a cupboard,
deriving from his Studiolo -verifies the historical reality which Montefeltro wished depicted.
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Brera Altarpiece, c.1475,
Pinacoteca di Brera, Milan.
•Perspective study
•Showing principal axes, geometrical structure of the architecture, multiple vanishing points, and
the ‘mystical heart’ of the painting.
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Brera Altarpiece, c 1475,
Pinacoteca di Brera, Milan.
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The painting set within its multiple vanishing points

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Senigallia Madonna, c 1475,
Galleria Nazionale delle Marche, Urbino.
•Oil on Panel, 61 x 53.5 cm
•Refers to Masaccio and  Flemish models.
•Background alludes to the ‘sheltered place’ where God visited his handmaiden.
•Coral necklace and the rose the Child holds alludes to the Passion.
•Diagonals cross on Mary’s heart
•One Angel looks to Heaven, the other contemplates the earthly incarnation.
•Perfect balance of compositional and liturgical elements.
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Detail, Senigallia Madonna, c 1475,
Galleria Nazionale delle Marche, Urbino.
•Oil on Panel, 61 x 53.5 cm
•(Detail) The room behind the Madonna, flooded with (Divine) light is a symbol of the Annunciation,
alluding to Mary’s chamber where the incarnation occurred.
•Echoes Flemish models such as Robert Campin.
•The pale blue of the Angel’s robe also alludes to the Annunciation.
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Virgin & Child with Four Angels,
c. 1470, A & J Clark Institute, Williamstown, Mass. .
•Oil and mixed media on Panel, (transferred to panel,1961)
•117.8 x 78.42 cm cm
•Penultimate Angel on the Right is a repeat of the first Angel to the right in the Montefeltro
Altarpiece, The veil of the Madonna repeats the drawing of the Senigallia Madonna and the last
angel also reappears in this altarpiece.
•Architectural elements are probably not Piero’s but a pupil’s - Piero had a penchant for teaching
and probably had as large a school of followers as Leonardo.
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Light, form and clarity..
•“Light…is the secret theme and revealer of all in Piero’s paintings….
•It is a light, “…in which everyday landscapes are revealed in the enchantment of transparent skies
and reflecting waters and in which a friendly relationship is established between nature and man."
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