Arezzo
Sansepolcro
Monterchi
Arezzo
Legend of the True Cross, Bacci Chapel, Basilica of San Francesco
The cycle of the Legend of the True Cross – whose accurate restoration by the Superintendency of Arezzo, funded by Banca Etruria and Lazio, was completed in 2000 – is undoubtedly one of the most extraordinary cycles of Western art.
As stated by Longhi, Piero della Fracesca was commissioned the frescoes by the Bacci Family (which had been granted the patronage with burial rights) presumably to replace Bicci di Lorenzo – who had died in 1452 leaving his work unfinished – in decorating the chapel of the Basilica di San Francesco in Arezzo.
Piero della Francesca was thus entrusted to paint the chapel choir with episodes drawing from the Legend of the True Cross – a theme particularly dear to Franciscans – a legendary story reinterpreted by Bishop Jacopo da Varagine, and made public in 1265 within the Legenda Aurea.
Soon after Bicci’s death, Piero began planning the cycle by accurately preparing the drawings, taking into account the precise distribution of colours, the executing technique and the materials to be used.
The dominant theme of the cycle is the triumph of the cross which, since Adam’s death, has been guiding man to salvation; Piero, in agreement with the commissioners, decided to emphasize given episodes whilst excluding or minimizing others, thus profoundly innovating traditional iconography and including two episodes which were normally left out:
The Queen of Sheba meeting Salomon and the Annunciation.
The distribution of scenes on the walls appears to be rarefied, apparently illogical and irrational, in that the chronological order of the story is developed not according to tradition. Piero divided the story into interconnected themes, enriching the sacred theme of the Redemption – from the Waiting for the Messiah to the Advent of Christianity – with precise references to contemporary political and religious events which were troubling the Church, forced to counter the Turkish advance with a crusade reaffirming its unity and superiority.
Piero’s figurative distribution was affected by the chapel’s configuration, which Piero divided into three sections: the upper lunettes and two lower rectangular sections.
The symmetry of the side walls is perfect: in the upper part, two episodes set in the open air are one opposite the other (Adam’s Death and The Exaltation of the Cross), in the median section there are two scenes of court life (The Queen of Sheba kneeling in adoration of the wood on the stream Siloe and meeting Salomon and The discovery and proof of the True Cross), and in the lower section, two battles (The Victory of Costantin over Maxentius and The battle of Heraclius against Chosroes). The central wall completes the narration with: Costantin’s dream, the Annunciation, The Prophet Jeremiah and the Prophet Isaiah; as for the scenes The burial of the Sacred Wood and The Torture of the Jew, the drawings were certainly made by Piero, though were painted by Giovanni Piamonte.
Arezzo
Santa Maria Maddalena, Dome
Piero’s masterpiece is placed near the door leading to the sacristy of the Dome of Arezzo, nearly hidden by the 14th century cenotaph of Bishop Tarlati (1783). The high quality of the work is now even more striking thanks to its accurate restoration: Piero painted one of the most charming and realistic female figures, giving proof of his modernity and naturalness, underlined by the woman’s thin hair scattered over her shoulders and by the bright red tone of her cloak. The Saint holds a strikingly three-dimensional and perspective crystal ampulla which modulates the refractions of light, a geometric solid which evidently reminds us of Madonna del Parto
Map of Arezzo (click on the image to enlarge)
Monterchi
Madonna del Parto, Museum Madonna del Parto
In the small church of Santa Maria in Momentana, in the isolated green landscape at the foot of the hill where the village of Monterchi stands - one of the most picturesque places in Val Tiberina - Piero della Francesca painted one of his most famous and admired masterpieces, Madonna del Parto, whose extraordinary beauty attracts thousands of visitors every year.
It is unclear why Piero della Francesca – who completed the painting in just seven days - was commissioned the work and why said theme was chosen (so unusual in Italian iconography and much more common in the Spanish one).
The fresco, now at the Museum Madonna del Parto, represents the Virgin who appears to a group of believers, at the centre of a precious tent, wrapped in vair leather: despite being an appearance, she is indeed very alive and real: she is just like any other pregnant woman, young and enraptured in the thought of the baby who will change her life; at the same time, she is the God’s “chosen one”, the instrument for Redemption. In this three-quarter length portrait, she is represented in a regal though highly realistic pose: with superb delicacy, Piero underlined her pregnant condition, showing the extremely natural gesture with which she places her hand on her stomach, while the other, lying on her curved hip, underlines her pregnant figure.
The extraordinary realism of the painting is underlined by its details, such as the dress laces which are slightly pulled open by the Virgin Mary’s pregnant state, revealing the candour of her shirt. The two angels – whose intense looks invite the viewer to contemplate the Virgin Mary – were painted by reversing the same drawing, and are symmetrical also in their colours, in the correspondences of brown and green.
Map of Monterchi (click on the image to enlarge)
Sansepolcro
Polyptych of Mercy, Civic Museum
The Museum holds many important works of art: frescoes, paintings, earthenware, gold-works, sacred vestments and archaeological findings. Other than Piero della Francesca’s masterpieces (Polyptych of Our Lady of Mercy, San Giuliano, San Ludovico, Resurrection of Christ), it also contains valuable works by Matteo di Giovanni, Pontormo, Raffaellino del Colle and Santi di Tito.
Piero was commissioned the Polyptych by Sansepolcro’s Confraternity of Mercy in 1445.
The commission entailed extensive negotiations, which led to a contract with particularly precise and engaging clauses for the painter. The contract did not refer to the subject to be painted, though required the painter to reproduce the model of the existing painting (to be replaced); moreover, the artist was obliged to perform any necessary upkeep and restoration works for ten years after completion of the work.
As known, the contractual term (1448) was completely ignored due to Piero’s constant engagements in Arezzo and throughout Italy, where he worked for wealthier, more learned and refined Courts. Hence, the Polyptich took more than fifteen years to complete.
The iconography follows a traditional scheme: the Virgin Mary protects a group of believers, among whom also the artist (the first on her right). Despite the conventional golden background, Piero’s figures are given a significant plastic relief. The Virgin Mary’s pose, amplified by the wide drapery of her black cloak, is counterpointed by the precise representation of anatomic details.
One of the first paintings to be made was, quite likely, the one on the left, with San Sebastiano and San Giovanni Battista, formed by two joined axes: San Sebastiano probably reflects Piero’s first approach to Roman sculpture, while San Giovanni Battista is the most Masaccio-inspired figure ever painted by Piero. In any event, the most evident result of Piero’s direct and meditated study of Masaccio is the beautiful and touching Crucifixion, which may be compared with that currently held at Museum of Capodimonte
The paintings originally composing the Polyptych, now kept at the Museum, are: Our Lady of Mercy, San Sebastiano, San Giovanni Battista, Sant’Andrea, San Bernardino da Siena. Crucifixion, San Benedetto da Norcia, Announcing Angel, Our Lady of the Annunciation, and San Francesco da Assisi.
The foot-paces were clearly made by a modest painter, though a good miniaturist, possibly Giuliano Amedei. The two pilaster strips with the three Santi are of higher quality, and must thus have been made by a collaborator of Piero della Francesca.
Sansepolcro
Resurrection, Civic Museum
The fresco was probably painted in 1467-68, in the Meeting Hall of Palazzo dei Conservatori di Sansepolcro (the current Civic Museum).
It is one of the greatest works by Piero della Francesca: an emblematic work, symbol of the artist’s native town which, so goes the legend, was founded as a result of worshipping the relics of Saint Sepolcro brought by two pilgrims, Egidio and Arcano.
Under the sign of the resurrected Christ, the town, which passed under the rule of Florence for a few years (1441), regained its identity and dignity in 1456 when the Florentines returned the use of the Palazzo to the Conservatori and to two Councils, in order for them to regain their official use: restoration thus began, during which the realization of the work was probably planned. The painting shows Christ in a strong and authoritative pose; what is impressive is his fixed look: not a sign of transcendental detachment, but rather a strong human trait, a divine “presence”. On the left, there is a barren, winter-like and abandoned landscape; on the right, instead, the landscape is spring-like, peaceful and pleasant. A number of soldiers sleep at Christ’s feet, forming the basis of a pyramid with Christ and thus defining the space on two separate levels (the space under the banner is thought to be Piero’s self-portrait).
Sansepolcro
San Giuliano, Civic Museum
The fresco shows a young haloed figure, identified as San Giuliano. The Saint – represented against an ancient green marble background, within a small panel – is wrapped in an elegant amaranth velvet cloak, with his face turning to the left. The fresco was found on 23rd December 1954 near the old Church of Sant’Agostino (the current Church of Santa Chiara).
Piero’s style is so unique and mature that it dispels any doubts about its paternity; it also shows how Piero used the same physiognomic traits indifferently for either saints, angels or men. His figures represent the absolute, and their eyes, rarely catching the viewer’s, make them detached and transcendental in their physical build and geometric material weight.
Sansepolcro
San Ludovico, Civic Museum
The fresco (removed from Palazzo Pretorio) has a fundamental civic importance and is an example of Piero’s work in his native town; it is the only fragment left of a more complete, though now lost, work.
Map of Sansepolcro (click on the image to enlarge)
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