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Piero [Pietro di Benedetto di Pietro] dellaFrancesca [deFranceschi](b Borgo San Sepolcro [now Sansepolcro], c. 1415; burBorgo San Sepolcro, 12 Oct1492).

Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in

the Italian early Renaissance, an age in which art and science were indissolubly linked through the

writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was

similarly interested in the scientific application of the recently discovered rules of perspective to

narrative or devotional painting, especially in fresco, of which he was an imaginative master; and

although he was less universally creative than Leonardo and worked in an earlier idiom, he was

equally keen to experiment with painting technique. Piero was as adept at resolving problems in

Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable

figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His

tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally

attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci

Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical

compositions and the figures that inhabit them, the whole depicted in a distinctive and economical

language. In his autograph works Piero was a perfectionist, creating precise, logical and light -filled

images (although analysis of their perspective schemes shows that these were always

subordinated to narrative effect). However, he often delegated important passages of works (e.g.

the Arezzo frescoes) to an ordinary, even incompetent, assistant.

I. Life and painted work.

1. Early works.

(i) Background and collaborative works.

Pieros birthplace, Borgo San Sepolcro, was at one of the crossroads between Tuscany, the

Marches and Umbria. A flourishing town in the upper Tiber Valley, it passed from Malatesta rule to

the Papacy in 1431 and was ceded to Florence in 1441. Piero was the son of a tanner and wool

merchant, and his early study of mathematics doubtless had a mercantile purpose (seeIII below).

Documents (Dabell, 1984; Banker, 1990, 1991, 1993) provide clues about Pieros earliest artistic

activity. He was paid in Borgo San Sepolcro in June 1431 for painting processional candle poles,

and he is recorded there on 29 December 1432 as having assisted Antonio da Anghiari, a local

Late Gothic painter, with initial work on the high altarpiece of S Francesco since June 1432. The

commission was later abandoned and passed on to Sassetta, whose celebrated altarpiece,

completed in 1444, was an important influence on Piero. This early payment (a substantial 56

florins) and others for painting pennants with the insignia of Pope Eugenius IV (reg143147) in

1436 were made through his father (recorded elsewhere in dealings with Antonio), indicating

Pieros youth but also his precocious involvement in local artistic commissions. He is recorded

several times in Borgo San Sepolcro until 1438.

Florence must have provided a fundamental stimulus forPieros development, although there is

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PierodellaFrancesca: Baptism,egg tempera on panel,1.671.16 m,

only one record of his presence there. On 12 September 1439 he is documented with Domenico

Veneziano in a payment relating to the decoration (destr.) of S Egidio (now S Maria Nuova), then

the most important Florentine fresco cycle since the Brancacci Chapel (Florence, S Maria del

Carmine). Piero was inspired by Domenicos ordered, rationally lit compositions (especially his St

Lucyaltarpiece of the 1440s), as well as by his calm, pale Madonnas, whose ovoid heads and

almond eyes reappear in Pieros figures. It is intriguing to imagine the appearance of the work

(untraced) that Domenico is documented as having produced in 1450 in Arezzo, where the two

painters may have met again.

(ii) The Misericordia altarpiece.

In 1442 Pieros name was drawn from a list of citizens eligible for membership of the town council

of Borgo San Sepolcro (not necessarily indicating his actual presence there), the first of many

references to his participation in civic affairs. He received a significant commission in the town a

year after Sassettas altarpiece was set up there. On 11 June 1445 a leading charitable

confraternity contracted him to paint a large altarpiece for its church/oratory. The Misericordia

altarpiece (Sansepolcro, Pin.) was probably the first major work in the town by a non-Sienese

artist. The commission had been in preparation since 1430 (Dabell, 1984), and Pieros contract

specified that the work was to be completed within three years. As with many ofPieros works,

however, there were years of delay, and he interrupted the execution of this polyptych more than

once; in early 1455 he was admonished by the patrons. The work was not finished until about

1460. Although the panels of the Misericordia altarpiece are poorly preserved, they reveal the early

development ofPieros style from the loose modelling reminiscent of Masaccio, seen in SS

Sebastian and John the Baptiston the left, to the monumental, subtly defined SS John theEvangelist and Bernardino on the right, all of them standing solidly in space, despite the gold

background required for this conservative commission. The central figure of the Virgin epitomizes

Pieros concern for statuesque, scrupulously modelled form and is a perfect conjunction of

iconography and volumetric description. The supplicants gathered around her typify Pieros non-

individualizing approach to figures, here depicted with a restrained but telling use of gesture.

(iii) The Baptism.

The Baptism (London, N.G.) is also an early work, probably begun in

the late 1440s; it was the centre of an altarpiece (Sansepolcro

Cathedral) that appears archaic when viewed according to Pieros

luminous idiom. The morning light, open sky and distinctive clouds in

the Baptism are all characteristic ofPiero, while the trees in the

landscape background punctuate space like bars of music and

provide the same compositional scansion as they do in many of his

later works. His interest in light is prominently displayed in the

reflective surface of the river. The arrangement of the foreground

figures and their deliberate juxtaposition with inanimate, regular

bodies (e.g. the cylinder of the tree) are early indications of Pieros

enduring interest in rigorously constructed compositions. Here and

elsewhere, however, narrative expression always takes precedence over perspectival construction.

The remaining part of the altarpiece was entrusted in the mid-1450s to the Sienese workshop of

Matteo di Giovanni (also a native of Borgo San Sepolcro) and Giovanni di Pietro, who painted the

lateral panels with figures ofSS Peter and Paul, pilaster saints and a narrative predella relating to

the Baptist, one end of which bears the arms of the Graziani family (all Sansepolcro, Mus. Civ.). Aroundel with God the Father(untraced) above the central scene may have been painted by Piero.

The altarpiece appears to have been constructed by Antonio dAnghiari (Dabell, 1984) and

commissioned for a church dedicated to S Giovanni Battista, either in Val dAfra or the Pieve

(Lightbown).

(iv) Work for courtly patrons.

The signed and dated Penitent St Jerome (1450; Berlin, Gemldegal.), a small painting in its

original frame, is a refined work of the kind Piero provided for his first courtly patrons. These were

perhaps the Este in Ferrara, where he painted frescoes (destr.) in S Agostino c. 1449 and where
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PierodellaFrancesca: Battle ofHeraclius and Chosroes (14534), fresco,

he doubtless saw examples of work by Rogier van der Weyden or other early Netherlandish

painters. Despite the loss of its surface glazes, this work demonstrates Pieros clarity of

composition and depiction of cool, morning light. Its poetic, river-crossed landscape, similar to that

of the Baptism, precedes that painted by Bono da Ferrara in the Ovetari Chapel (Padua,

Eremitani). A slightly later version of the same subject (Venice, Accad.) depicts a donor and a view

of a town like Borgo San Sepolcro. Both works have an intensity of feeling entirely befitting the

spiritual subject.

Sigismondo Pandolfo Malatesta was one ofPieros most important courtly patrons. His

transformation of S Francesco in Rimini into the dynastic Tempio Malatestiano involved Alberti

(see fig.), who may have proposed Pieros services for the votive fresco ofSigismondo Malatesta

Venerating St Sigismund(1451; detached, in situ). The careful profile of Sigismondo, repeated in aportrait by Piero (Paris, Louvre), contrasts with the relaxed pose of the saint and with the

contrapuntal figures of the two greyhounds, in which courtly and symbolic iconography and natural

description are merged. The saints hand and orb reveal the painters skill in depicting both regular

and irregular solids. As in the Baptism and all ofPieros most successful compositions, there is a

visually satisfying sense of interval between the figures here, a remarkable and idiosyncratic

feeling for the rhythmical arrangement of solids and voids.

(v) The Perugia altarpiece.

The altarpiece painted for the Franciscan nuns of S Antonio delle Monache, Perugia (Perugia, G.N.

Umbria), has been associated with documents of 1469 (Lightbown) but appears to be an earlier

work, datable to before the Arezzo frescoes and showing the strong influence of Domenico

Veneziano (e.g. his Virgin and Child; Bucharest, N. Mus. A.). The setting and frame of the main

register, the Virgin and Child between SS Anthony of Padua, John the Baptist, Francis and

Elizabeth of Hungary, are redolent of the courtly Late Gothic world of Central Italy, while its more

modern double predella and unusual gable with theAnnunciation, certainly planned from the start,

display Pieros freedom when faced by less restricted sections of a painting. The virtuosity of the

architectural description recalls the Urbino Flagellation and the Solomon and Sheba scene in

Arezzo, both roughly contemporary.

2. Mature works.

(i) Frescoes for S Francesco, Arezzo.

Pieros greatest achievement is the fresco cycle of the Legend of the

True Cross (Arezzo, S Francesco; see fig.) illustrating Mans

redemption through the story of the wood from the Garden of Eden

that became Christs Cross. These narrative scenes contain some of

the most original and memorable images of the Renaissance, and

their arrangement, which diverges from the traditional chronology of

the Golden Legend, is adapted to Franciscan liturgy. The

sophistication of these paintings is the result of the learned Franciscan programme and the lucid

inspiration ofPiero.

In the initial phase of decoration, the chapel vault and the Last Judgementover the arch facing the

nave were painted by the workshop of Bicci di Lorenzo c. 1447. Piero may have begun work very

soon thereafter. The commission was the result of a bequest by the Bacci family (the involvement

of the humanist Giovanni Bacci, postulated by Ginzburg, is entirely hypothetical). The fresco cycle

is undocumented and can be dated only to after 1447, when a partial payment was made by the

Bacci to an unnamed painter (usually identified as Bicci); most of the chapel was painted during the

early to mid-1450s, and it was certainly finished by 1465.

The frescoes may be dated stylistically to a period beginning in the late 1440s (by comparison with

the early parts ofPieros own Misericordia altarpiece) and are reflected in works by other artists

painted by the late 1450s (Bellosi, Bertelli). One comparable work is by Giovanni da Piamonte, an

assistant ofPiero whose hand is recognizable in parts of the frescoes. His Virgin and Child with

Saints (Citt di Castello, S Maria dei Servi) is signed and dated 1456, which proves that this little-

known painter was an independent master by then. Another work that reflects knowledge of the
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lowest tier of frescoes in Arezzo is the St Nicholas predella by Giovanni di Francesco (Florence,

Casa Buonarroti), who died in 1459, so adding to the chronological framework. In sizeable sections

of the frescoes Pieros design is more evident than his execution; qualitative unevenness reveals

that important passages were delegated to an ordinary, even incompetent, assistant. The Raising

of the Jew from the Well, for example, was designed by Piero and painted by an assistant

(probably Giovanni da Piamonte), but with the correct light-sourcesuch a significant part of

Pieros cerebral approach to artreversed.

Although Vasaris account of the frescoes in the Vite (1550, rev. 2/1568) is somewhat confused and

historically inaccurate, his description is often detailed and perceptive. He noted (Vite, 1568; Eng.

trans. by G. de Vere, London, 191214, iii, p. 20):

"a row of Corinthian columns, divinely well proportioned [in the Solomon and

Sheba scene]; and a peasant who, leaning with his hands on his spade, stands

listening [in the Discovery of the Cross scene]. But above every other

considerationis his painting of Night, with an angel in foreshortening who is

flying with his head downwardsand with his own lightilluminates the pavilion,

the men-at-arms, and all the surroundings [the Dream of Constantine ]. Piero

gives us to know in this darkness how important it is to copy things as they are."

Three essential aspects ofPieros art are touched on here: his interest in perspective, his

unaffected naturalism and his skill with light.

(ii) The Flagellation.

The signed Flagellation (Urbino, Pal. Ducale) is in a sense a summation of Pieros artistic interests:

a rigorous construction based on modular measurements, a conception of composition and istoria

worthy of Alberti and the use of Classical figures and architecture, all depicted with his precise and

extraordinary command of light. The figure of the man in Turkish dress, whose turban is described

with the aid of minuscule pouncing and whose Classical drapery is lit by separate sources of light

(the underside of his left hand catches the natural light in a manner reminiscent of Jan van Eyck),

represents the summit ofPieros art. From the 18th century, when the Flagellation was recorded in

the sacristy of Urbino Cathedral, descriptions of this enigmatic panel have focused on the identity

of the three figures on the right. These were once thought to portray members of the Montefeltro

family or to allude to the assassination in 1444 of Oddantonio da Montefeltro by his half-brother

Federigo da Montefeltro, later Duke of Urbino and an important patron ofPiero. Uncertainty aboutthe date of this picture (probably mid-1450s) and its destination has led to many interpretations.

Analyses of its function and meaning have ranged from themes related to the Crusades, in which

Christs Passion was echoed in contemporary events (Clark, Ginzburg), often with specific

identifications of the secular figures with princes or patrons (Lavin, Lightbown, Calvesi), to anti-

Semitic themes (Lollini). An original interpretation of the scene as the flagellation of St Jerome

(Pope-Hennessy,Apollo, 1986), in which much iconographical inconsistency is resolved, sets the

painting in the context of a highly cultured court.

(iii) The Resurrection.

One ofPieros most celebrated paintings, the Resurrection (after 1458; Sansepolcro, Mus. Civ.), is

undocumented but is related stylistically to the later Arezzo frescoes. It was frescoed in theResidenza, one of the official chambers of government in Borgo San Sepolcro, in the Sala dei

Conservatori, a room completed in 1458. It was clearly modelled on the image of the Resurrection

seen in the 14th-century Sienese altarpiece still in the cathedral there. The fresco was probably

moved soon after its execution when the room was altered, and it suffered some damage, including

the loss of framing elements and parts of the inscription. The commanding figure of the Risen

Christ is one of the enduring images of Christian victory in Western art, and the disarray of the

slumbering Roman soldiers provides a stirring contrast. As at Arezzo, the setting of the figures

close to the foreground lends a dramatic immediacy to the scene.

(iv) Work for S Agostino, Borgo San Sepolcro and the Madonna del


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PierodellaFrancesca: Virginand Child (Brera Altarpiece),mid-1470s (Milan,

parto.

On 4 October 1454 Piero had been commissioned by the Augustinian friars of Borgo San Sepolcro

and the family of Angelo di Giovanni di Simone and his late brother, Simone di Giovanni di Simone,

to paint the high altarpiece of S Agostino. The unusual time limit of eight years suggests that Piero

was involved elsewhere at the time. The principal surviving panels of this altarpiece (dispersed),

each about 1.330.59 m, are linked by a Classical parapet running behind the figures. These

include a solemn depiction ofSt Augustine (Lisbon, Mus. N. A. Ant.), who bears a crystal crozier

and whose cope is decorated with freely handled New Testament scenes; a quietly heroic and

dazzlingly bejewelled St Michael(London, N.G.), in which part of the throne base and drapery are

visible; St John the Evangelist(New York, Frick), with a corresponding element of the throne at his

feet; and a corpulent portrait-like image ofSt Nicholas of Tolentino (Milan, Mus. Poldi Pezzoli).Smaller panels executed by Pieros workshop and possibly associated with the altarpiece include

St Apollonia (Washington, DC, N.G.A.) and two Augustinian saints and a damaged Crucifixion (all

three New York, Frick). The Crucifixion contains beautifully depicted horses, which are as

monumental as their counterparts in Arezzo and may well be by Piero. Like the Raising of the Jew

from the Wellscene of the Arezzo frescoes, St Apollonia seems to have been painted by an

assistant, as it is lit from the wrong side. Archival research has revealed more information about

the patrons involved in this altarpiece commission (Banker, 1987) and evidence of the untraced

central panel, a Virgin and Child(Polcri, 1990). The work was not completed until at least 1469,

and once again stylistic contrasts within its evolution are apparent, from the St John, contemporary

with the Arezzo frescoes, to the luminosity of the St Augustine inspired by the Urbino Flagellation.

A figure of a youthful saint, usually identified as St Julian (Sansepolcro, Mus. Civ.), which Piero

had frescoed earlier in S Agostino, was discovered in 1954. Only the upper part of the body

survives, but this fragment beautifully illustrates his skilful use of lighting and the technique of

pouncing. These qualities are also evident in a calm image of incomparable devotional strength,

the Madonna del parto(Virgin with Two Angels), which adorns a small reconstructed cemetery

chapel (formerly S Maria a Momentana) near Monterchi. The angels revealing the pregnant Virgin

were painted from the same cartoon reversed, a device also used in the contemporary Arezzo

frescoes, which provides a powerful symmetry. A more monumental female figure, also

undocumented and perhaps painted somewhat later, is the frescoed St Mary Magdalene (Arezzo

Cathedral), which is partly cropped.

3. Late works.

Piero is recorded in Urbino only once, as the guest of Giovanni Santi

on 8 April 1469, when he came to discuss a projected altarpiece for

the confraternity of the Corpus Domini, a commission that had

passed to Justus of Ghent by 1473. He must have been in frequent

contact with the court of Federigo da Montefeltro, however, which

provided him with at least two other commissions. The first of these

was probably the candid double portrait ofFederigo da Montefeltro

and his wife Battista Sforza (both Florence, Uffizi), no doubt painted

after Battistas premature death in 1472 and partly a celebration of

the ruling couples virtues. These are extolled in the elegant humanist

texts on the reverse of each of the bust-length portraits, which have

in the background one of the most beautiful, airy landscape views of

the 15th century. The Brera Altarpiece (Virgin and Child; Milan, Brera), possibly a work of the mid-

1470s, was in some ways modelled on a Late Gothic altarpiece (1439; Urbino, Pal. Ducale)

commissioned from Antonio Alberti by the father of Federigo, Guidantonio da Montefeltro (reg

140443). Both works have a funerary function (Lightbown), and it seems clear that Pieros

altarpiece is a votive work, relating Federigo to his heavenly intercessors. Its beauty derives from

the extraordinary union of Renaissance architecture (reflecting the style current in Urbino) and

figures in an idealized, ecclesiastical setting. The suspended egg, which has elicited much

exaggerated exegesis, is sometimes found in funerary chapels; it provides both a symbol of the

Resurrection and a formal parallel to the ovoid head of the Virgin.

Among Pieros last works are the poetic Nativity(London, N.G.), abraded by old, over zealous

cleaning but also damaged by a candle-burn, which suggests that it did once stand as a completed

altarpiece, and the Senigallia Madonna (Urbino, Pal. Ducale; ex-Senigallia), an intimate depiction

of the Virgin and Child between two silvery-blue and pink angels with a view into a background
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room. The extraordinary effect of reflected light from the shuttered window there is a distant

prelude to Dutch 17th-century painting.

II. Style, working methods and technique.

Since the execution of many ofPieros paintings was spread over many years, and since his figure

types and mode of composition changed little during his long career, it is challenging to provide an

accurate chronology of his works. Close scrutiny of certain characteristics, however, provides

evidence for some of the change in his style. In physiognomy, there was a gradual shift from rosier

to paler flesh tints and a move from fuller, rounder faces with large, expressive eyes and fleshierlips towards smaller eyes and less deeply modelled features. In Pieros approach to colour, there

was a move from saturated tonalities, laid on in broad brushstrokes, to more luminous ones,

handled in the latest works with a miniaturists fine technique. Some of this shift in use of colour

occurred early and may have been the result of a similar development in the work of Domenico

Veneziano. The extremes ofPieros figure style may be perceived by comparing the left-hand

saints in the Misericordia altarpiece or the frescoed St Julian in Sansepolcro with the figures in the

Brera altarpiece or the Senigallia Madonna. The late change in handling was perhaps the result of

failing eyesight, alluded to by Vasari, but which probably occurred very gradually, as the clear

handwriting ofPieros will of 1487 suggests.

It is evident that Piero began experimenting with fresco technique early on. His association in

Florence in 1439 with Domenico Veneziano, who was using an oil-based medium for at least part

of the frescoes in S Egidio, already suggests a move away from traditional buon fresco technique.This may not be as unusual as it has seemed, however. An oil technique in wall painting is

mentioned in Cennino Cenninis Il libro dellarte , a handbook used by many 15th-century central

Italian painters, and analysis of the Arezzo frescoes proves that Pieros approach to painting there

was complex and varied.

Pieros frequent use of pricked cartoons, even for the smallest parts of a composition, is at the

heart of his attempt to achieve pictorial perfection. Evidence of their use is visible in both panels

and frescoes, for example in the Baptism, the Flagellation and throughout the frescoes in Rimini,

Arezzo and Monterchi. In these last two works, symmetry of pose is achieved by the reversing of

the cartoon, a method that could also be used to repeat a design and thus save time. This general

use of pouncing indicates that Piero was a key figure in the changing application of this technique

in the Renaissance, from earlier frescoes, when it was usually used for repeated decorative motifs,

to the full-scale cartoons used by Raphael and others. Far from implying a loss of artistic

spontaneity, this method could convey the most sophisticated, artfully achieved designs from the

workshop to the wall without a loss in quality such as one might risk by using a sinopia, in which

the underdrawing is covered with plaster.

Within several passages of the Arezzo frescoes (the marquetry door of theAnnunciation, for

instance) changes of medium are apparent, as if the painter experimented on the spot. Some

patches of wall bear marks left by the application of a damp cloth to keep the plaster damp, while

many other passages show evidence of retouching a secco, necessary with certain metal

pigments, to refine effects of light and shade. Some of the pigmented forms painted after the

plaster had dried were later lost, such as leaves on the large tree in theAdamites in the Arezzo

frescoes or the left-hand tree in the Resurrection in Sansepolcro (leading writers to misinterpret

them as symbolic, withered trees).

For bibliography seeIV below.

Frank Dabell

III. Theoretical works.

Throughout the 15th century in Tuscany there was an increasing use of more sophisticated

mathematical techniques in many crafts. An examination of artists practice in this period, however,

strongly suggests that Leon Battista Alberti was over-stating his case when he implied, in De
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pictura (1435), that painting generally involved a considerable quantity of exact mathematics. Only

one leading artist of the 15th century seems to have had an independent reputation as a

mathematician: PierodellaFrancesca. The identification of manuscripts of mathematical works by

Piero and their publication confirm Vasaris characterization of him as an able mathematician, much

of whose work was incorporated into treatises published after his death by his countryman, and

possibly pupil, Luca Pacioli. Vasaris charges that Pacioli was guilty of plagiarism, which thus

lowered Pieros later reputation, must be viewed with caution. Notions of copyright took root only

slowly with the advent of printing: even in the 1520s, what should now be regarded as a piece of

intellectual property, namely a method of solving cubic equations, seems to have been considered

to be heritable. Most 15th-century mathematical treatises, including two of Pieros, contained

numerous problems taken from earlier treatises. Mathematics, particularly algebra, developed very

rapidly in the period immediately afterPieros death, a fact that no doubt contributed to the rapiddecline of his reputation as a mathematician; the fortune ofPieros mathematics was not unlike that

of his art.

Vasari said that Piero wrote many mathematical treatises. Three have been identified: De

prospectiva pingendi(On perspective for painting), Trattato dabaco (Abacus treatise) and De

quinque corporibus regularibus (On the five regular bodies, i.e. the five regular solids described in

Euclids Elements). The treatise on perspective and the abacus book are both in Italian. The work

on the regular solids survives in Latin, but may have been written originally in Italian. The dates of

composition are not known exactly, but it is clear, from Pieros own borrowings and references, that

the abacus book (probably written in the 1450s) preceded the work on the regular solids and that

the latter was completed after the perspective treatise, probably in the decade after 1482. Partly on

account of Paciolis plagiarism the contents of all three treatises have rather complicated

publishing histories. Complete editions have appeared only in modern times.

The treatise least used by Pacioli is the one of most obvious concern to the historian of art, namely

De prospectiva pingendi. A manuscript with exquisitely neat diagrams, believed by Nicco Fasola to

be autograph, is preserved in Parma (Bib. Palatina, MS. 1576). Several later manuscripts are

known (some in Latin), confirming other evidence that the work circulated quite widely in the 16th

century. Parts of it were incorporated, with acknowledgement, in Daniele Barbaros La Prattica

della perspettiva (Venice, 1569). De prospectiva pingendiis intended as a practical instruction

manual. The reader is presumably regarded as an apprentice, since he is called tu throughout and

is generally addressed in the imperative while being given detailed instructions for drawing the

diagrams. Proofs mainly take the form of merely checking that the result is what Piero asserted.

They are usually very brief, much briefer than the drawing instructions. Some proofs are only

approximate, suggesting that the successful drawing of the diagram was seen as proof enough.

However, a few proofs are fairly elaborate, involving long series of similar triangles and

manipulation of ratios. While these techniques are standard for the time, they are not entirelyelementary. The apprentice would need to have attended an abacus school to be able to follow

such proofs with the fluency Piero seems to expect. (It is probably on account of the level of

mathematical skill expected in the reader that De prospectiva pingendidid not find its way into print

in the Renaissance.) In the manner of all practical treatises of the time, Pieros work proceeds

almost entirely by means of worked examples. Its first book deals with flat patterns (tiled floors and

the plans of simple bodies), the second considers various simple solid figures (such as houses,

idealized as cuboids), and the third handles more elaborate objects, such as column capitals and

human heads. Several diagrams correspond closely with elements found in the fresco cycle the

Legend of the True Cross (Arezzo, S Francesco) and presumably reflect Pieros preliminary

drawings.

Pieros treatise on perspective seems to have been the first of its kind, and it set the pattern for

later treatises, although Piero no doubt saw it as part of an established tradition of workshopmanuals. The Trattato dabaco belongs in another tradition of practical texts, that of the elementary

mathematical treatises used in abacus schools. These treatiseswhich derive their name from the

Liber abaci(1202) of Leonardo of Pisa (c. 1170?1250)are largely concerned with arithmetic, but

usually also contain a little algebra and may sometimes include a few geometrical problems. The

exposition is by series of worked examples. Pieros Trattato is written in this way, though the

introduction makes it clear that the work was not written for use in a school, but at the request of a

friend or patron. It was probably a manual for merchants and was dedicated to a member of a local

family, the Pichi (related to Pieros own family). There are two known manuscripts of the work; the

one Arrighi believes to be autograph is in Florence (Bib. MediceaLaurenziana, MS. Ashb.

280/359291). Most ofPieros arithmetical and algebraic problems can be found in earlier

treatises, but his geometrical problems, of which there is an unusually large number, show


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considerable originality, notably in dealing with three-dimensional figures. In particular, Piero gives

descriptions of four of the polyhedra whose discovery Pappus of Alexandria (5th century AD)

ascribes to Archimedes (c. 287212 BC). Pappus account merely lists the number of faces of

each type. Piero shows what the solids actually look like, by describing how the faces are

distributed round each corner of the solid. He is thus to be credited with having rediscovered the

solids. Many of the problems in Pieros Trattato were printed, verbatim or with very minor changes,

in Paciolis Summa de arithmetica (Venice, 1494).

Pieros treatise De quinque corporibus regularibus is dedicated to Guidobaldo I, Duke of Urbino.

This dedication must date from after Guidobaldos accession to the title, in 1482, so it is probable

that the treatise was at least finished in the last decade ofPieros life. The single surviving

manuscript is in Rome (Vatican, Bib. Apostolica, Cod. Urb. 273). The text is in Latin, but the worknonetheless has much in common with the vernacularTrattato dabaco, including many repeated

problems (usually treated in a more detailed manner in the later work). The later treatise is original

in being concerned only with geometry, however. Its first part deals with problems of plane figures,

the second considers the five regular polyhedra individually, the third solves the problems involved

in inscribing one regular polyhedron inside another (with numerous references to Elements, XV, a

book formerly considered to be by Euclid). The fourth part ofPieros work deals with bodies that

Piero calls irregular, though most of them (such as his Archimedean polyhedra, already discussed

in the Trattato) can be inscribed in a sphere, and almost all show considerable symmetry. Several

ofPieros geometrical problems are original in requiring the construction of a sphere with volume

equal to that of a given solid. Pieros treatise on the regular solids was printed, complete but in

Italian translation, as the third part of Paciolis De divina proportione (Venice, 1509).

Piero was undoubtedly a very able mathematician. His mathematical works are not only unusually

orderly in their presentation but also show an unusual degree of originality (for their time) both in

the extent to which they deal with geometrical problems and in the choice of the problems

themselves. It is, however, difficult to establish any simple connection between Pieros

mathematics and his paintings. His use of perspective seems to be broadly similar to that of most

of his contemporaries, although he is exceptional in his adeptness at balancing composition in

space with composition in the plane, and the famous stillness of his works may be due to his

having made exact perspective calculations for an unusually large number of elements (thus, for

example, making all heads appear exactly equal). Pieros strong sense of order and of symmetry

certainly should be seen as links between his mathematics and his art, although they by no means

provide complete characterizations of either.

Writings

G. Mancini, ed.: Libellus de quinque corporibus regularibus (Rome, 1916); also in G. Mancini: Lopera De

corporibus regularibus di Pietro Franceschi detto della Francesca usurpata da Fra Luca Pacioli, Mem.

Accad. Lincei, 15th ser., xiv, pp. 441580

G. Nicco Fasola, ed.: De prospectiva pingendi(Florence, 1942/RFlorence, 1984)

G. Arrighi, ed.: Trattato dabaco (Pisa, 1970)

Bibliography

S. A. Jaywardene: The Trattato dabaco of Piero della Francesca, Cultural Aspects of the Italian

Renaissance, ed. C. H. Clough (Manchester, 1976)

M. D. Davis: Piero della Francescas Mathematical Treatises: The Trattato dabaco and Libellus de

quinque corporibus regularibus(Ravenna, 1977)

O. Calabrese, ed.: Piero teorico darte (Rome, 1985)

R. Franci and L. Toti Rigatelli: Towards a History of Algebra from Leonardo of Pisa to Luca Pacioli,

Janus, lxxii (1985), pp. 1782

J.V. Field
http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit1=R.&auinitm=L.&aulast=Franci&aulast=Toti%20Rigatelli&title=Janus&volume=lxxii&date=1985&pages=pp.%2017%E2%80%9382http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&aulast=Calabrese&title=Piero%20teorico%20d%E2%80%99arte&date=1985http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.%20D.&aulast=Davis&title=Piero%20della%20Francesca%E2%80%99s%20Mathematical%20Treatises%3A%20The%20%E2%80%98Trattato%20d%E2%80%99abaco%E2%80%99%20and%20%E2%80%98Libellus%20de%20quinque%20corporibus%20regularibus%E2%80%99&date=1977http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=S.%20A.&aulast=Jaywardene&title=Cultural%20Aspects%20of%20the%20Italian%20Renaissance&aulast=Clough&date=1976


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IV. Critical reception and posthumous reputation.

Piero is first mentioned during his own lifetime, but only in passing, by Filarete in his Trattato and

by Giovanni Santi in his life ofFederigo da Montefeltro . Luca Pacioli, who called him a monarch of

painting and was mainly concerned with his theoretical works, was the first to state that Piero

worked in Bologna, Ferrara (specified later by Vasari as decoration in the Palazzo Ducale and a

chapel in S Agostino), Rimini and Urbino. Although several of the works mentioned are untraced,

there is no reason to doubt the accounts of Pacioli or Vasari. Vasari, who also stressed Pieros skill

as mathematician, referred to his work in Pesaro (the Flagellation, according to Lightbown),

Ancona (a Marriage of the Virgin in S Ciriaco) and Loreto (in the sacristy, S Casa, with DomenicoVeneziano).

Pieros reputation as painter declined after the 16th century, and it was only in local studies of the

early 19th century, such as F. Gherardi Dragomannis edition (1835) of Vasaris 1550 biography,

that his oeuvre began to be examined critically. J. Crowe and G. Cavalcaselle, in the New History

of Painting in Italy(London, 1864), and soon after them Bernard Berenson in the Central Italian

Painters of the Renaissance (London, 1897), led the way to a modern reappraisal. In the 20th

century early local studies ofPiero and his impact around Arezzo by Salmi and others

(summarized in 1979) were followed by landmark publications by Roberto Longhi (reassembled in

1963), whose fundamental and poetic appreciation ofPiero in the context of his contemporaries set

the stage for his reception in Italy. Berenson, who employed a connoisseurs approach to Piero in

1897, later wrote an essay, PierodellaFrancesca or the Ineloquent in Art(London, 1954), in which

Pieros classical restraint is equated with essential form. In the Anglo-Saxon world, Pieros namebecame more familiar after the Baptism was acquired by the National Gallery in London in 1861,

and the Resurrection was acclaimed by John Addington Symonds as by far the grandest, most

poetic and most awe-inspiring picture of the Resurrection (Renaissance in Italy, 187586). Aldous

Huxley declared in an essay of 1925 that the Resurrection was the best picture, and Piero was

championed in 1951 by Kenneth Clark, who endorsed Huxleys view in the television series

Civilisation (1969). An extensive text by Battisti (1971) contains a large but unevenly transcribed

body of documents assembled by Settesoldi. In the fifth centenary ofPieros death a number of

penetrating but idiosyncratic monographs were issued, and archival discoveries were matched by

the publication of important technical data.

Bibliography

Early sources

Filarete [Antonio Averlino]: Trattato del architettura (MS.; early 1460s); ed. J. R. Spencer (New Haven,

1965), ii

G. Santi: La vita e le gesta di Federico di Montefeltro, Duca dUrbino (MS.; c. 1482); ed. L. Michelini Tocci

(Vatican City, 1985), ii, pp. 6734

L. Pacioli: Summa de arithmetica (Venice, 1494), fols 2r, 68v

L. Pacioli: De divina proportione (Venice, 1509), fols 23r, 33 r

G. Vasari: Le vite di pi eccelenti [sic] architetti, pittori, et scultori(Florence, 1550); ed. L. Bellosi and A.

Rossi (Turin, 1986), pp. 33743

G. Vasari: Vite (1550, rev. 2/1568); ed. G. Milanesi (187885), ii, pp. 487501

General

J. Crowe and G. Cavalcaselle: New History of Painting in Italy(London, 1864)

E. Borsook: The Mural Painters of Tuscany from Cimabue to Andrea del Castagno (London, 1960, rev.

Oxford, 2/1980)

B. Berenson: Central and North Italian Schools (1968)
http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=B.&aulast=Berenson&title=Central%20and%20North%20Italian%20Schools&date=1968http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=E.&aulast=Borsook&title=The%20Mural%20Painters%20of%20Tuscany%20from%20Cimabue%20to%20Andrea%20del%20Castagno&date=1960http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit1=J.&auinitm=G.&aulast=Crowe&aulast=Cavalcaselle&title=New%20History%20of%20Painting%20in%20Italy&date=1864http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=G.&aulast=Vasari&title=Vite&date=1550&date=1568&aulast=Milanesi&date=1878%E2%80%9385&pages=pp.%20487%E2%80%93501http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=G.&aulast=Vasari&title=Le%20vite%20di%20pi%C3%B9%20eccelenti%20%5Bsic%5D%20architetti%2C%20pittori%2C%20et%20scultori&date=1550&aulast=Bellosi&aulast=Rossi&date=1986&pages=pp.%20337%E2%80%9343http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=L.&aulast=Pacioli&title=De%20divina%20proportione%20%E2%80%A6&date=1509http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=L.&aulast=Pacioli&title=Summa%20de%20arithmetica&date=1494http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=G.&aulast=Santi&title=La%20vita%20e%20le%20gesta%20di%20Federico%20di%20Montefeltro%2C%20Duca%20d%E2%80%99Urbino&date=1482&aulast=Michelini%20Tocci&date=1985&pages=pp.%20673%E2%80%934http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&aulast=Filarete&title=Trattato%20del%20architettura&date=1460s&aulast=Spencer&date=1965http://mchoudini.montgomerycollege.edu:2132/subscriber/article/img/grove/art/F015466


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M. Aronberg Lavin: The Place of Narrative: Mural Decoration in Italian Churches, 4311600 (Chicago,

1990), pp. 16794

J. R. Banker : The Culture of San Sepolcro during the Youth of Piero della Francesca (Ann Arbor, MI,

2003)

Monographs

K. Clark: Piero della Francesca (London, 1951, rev. 2/1969)

B. Berenson: Piero della Francesca or the Ineloquent in Art (London, 1954)

R. Longhi: Piero della Francesca (1963), iii ofOpere complete di Roberto Longhi(Florence, 1963)

G. Gilbert: Change in Piero della Francesca (Locust Valley, 1968)

P. Hendy: Piero della Francesca and the Early Renaissance (London, 1968)

P. de Vecchi: The Complete Paintings of Piero della Francesca (London, 1970/RHarmondsworth, 1985)

E. Battisti: Piero della Francesca, 2 vols (Milan, 1971, rev. 2/1992)

M. Salmi: La pittura di Piero della Francesca (Novara, 1979)

B. Cole: Piero della Francesca: Tradition and Innovation in Renaissance Art (New York, 1991)

J. Pope-Hennessy: The Piero della Francesca Trail(London, 1991)

M. Aronberg Lavin: Piero della Francesca (London and New York, 1992)

C. Bertelli: Piero della Francesca (London and New Haven, 1992)

R. Lightbown: Piero della Francesca (New York, London and Paris, 1992)

M. Calvesi : Piero della Francesca (Turin, 1998)

C. Prete, ed.: Piero interpretato: Copie, giudizi e musealizzazione di Piero della Francesca (Ancona, 1998)

J. M. Wood, ed.: The Cambridge Companion to Piero della Francesca (Cambridge, 2002)

J. V. Field : Piero della Francesca: A Mathematicians Art (New Haven, 2005)

B. Roeck : Mrder, Maler und Mzene: Piero della Francesca Geisselung: eine kunsthistorische

Kriminalgeschichte (Munich, 2006)

Exhibition catalogues and symposia

Federico di Montefeltro, lo stato, le arti, la cultura: Atti del convegno di studi organizzato dallo centro studi

sulle societ dellantico regime: Urbino, 1982

Piero della Francesca e il novecento (exh. cat., Sansepolcro, Mus. Civ., 1991)

Monarco della pintura: Piero and his Legacy: Washington, DC, 1992

La Madonna del parto in restauro (exh. cat., ed. G. Centauro; Monterchi, Scu. Via Reglia, 1992)

Nel raggio di Piero (exh. cat., ed. L. Berti; Sansepolcro, Mus. Civ., 1992)

Piero e Urbino, Piero e le corti rinascimentali(exh. cat., ed. P. dal Poggetto; Urbino, Pal. Ducale, 1992)

Una scuola per Piero: Luce, colore e prospettiva nella formazione fiorentina di Piero della Francesca (exh.

cat., ed. L. Bellosi; Florence, Uffizi, 19923)

Il polittico agostiniano di Piero della Francesca (exh. cat., ed. A. di Lorenzo; Milan, Mus. Poldi-Pezzoli,
http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Una%20scuola%20per%20Piero%3A%20Luce%2C%20colore%20e%20prospettiva%20nella%20formazione%20fiorentina%20di%20Piero%20della%20Francesca&aulast=Bellosi&date=1992%E2%80%933http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Piero%20e%20Urbino%2C%20Piero%20e%20le%20corti%20rinascimentali&aulast=dal%20Poggetto&date=1992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Nel%20raggio%20di%20Piero&aulast=Berti&date=1992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=La%20%E2%80%98Madonna%20del%20parto%E2%80%99%20in%20restauro&aulast=Centauro&date=1992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Monarco%20della%20pintura%3A%20Piero%20and%20his%20Legacy%3A%20Washington%2C%20DC%2C%201992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Piero%20della%20Francesca%20e%20il%20novecento&date=1991http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Federico%20di%20Montefeltro%2C%20lo%20stato%2C%20le%20arti%2C%20la%20cultura%3A%20Atti%20del%20convegno%20di%20studi%20organizzato%20dallo%20centro%20studi%20sulle%20societ%C3%A0%20dell%E2%80%99antico%20regime%3A%20Urbino%2C%201982http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=B.&aulast=Roeck&title=M%C3%B6rder%2C%20Maler%20und%20M%C3%A4zene%3A%20Piero%20della%20Francesca%20%E2%80%98Geisselung%E2%80%99%3A%20eine%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20kunsthistorische%20Kriminalgeschichte&date=2006http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=J.%20V.&aulast=Field&title=Piero%20della%20Francesca%3A%20A%20Mathematician%E2%80%99s%20Art&date=2005http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&aulast=Wood&title=The%20Cambridge%20Companion%20to%20Piero%20della%20Francesca&date=2002http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&aulast=Prete&title=Piero%20interpretato%3A%20Copie%2C%20giudizi%20e%20musealizzazione%20di%20Piero%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20della%20Francesca&date=1998http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.&aulast=Calvesi&title=Piero%20della%20Francesca&date=1998http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=R.&aulast=Lightbown&title=Piero%20della%20Francesca&date=1992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=C.&aulast=Bertelli&title=Piero%20della%20Francesca&date=1992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.&aulast=Aronberg%20Lavin&title=Piero%20della%20Francesca&date=1992http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=J.&aulast=Pope-Hennessy&title=The%20Piero%20della%20Francesca%20Trail&date=1991http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=B.&aulast=Cole&title=Piero%20della%20Francesca%3A%20Tradition%20and%20Innovation%20in%20Renaissance%20Art&date=1991http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.&aulast=Salmi&title=La%20pittura%20di%20Piero%20della%20Francesca&date=1979http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=E.&aulast=Battisti&title=Piero%20della%20Francesca&date=1971http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=P.&aulast=de%20Vecchi&title=The%20Complete%20Paintings%20of%20Piero%20della%20Francesca&date=1970http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=P.&aulast=Hendy&title=Piero%20della%20Francesca%20and%20the%20Early%20Renaissance&date=1968http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=G.&aulast=Gilbert&title=Change%20in%20Piero%20della%20Francesca&date=1968http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=R.&aulast=Longhi&title=Piero%20della%20Francesca&date=1963&title=Opere%20complete%20di%20Roberto%20Longhi&date=1963http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=B.&aulast=Berenson&title=Piero%20della%20Francesca%20or%20the%20Ineloquent%20in%20Art&date=1954http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=K.&aulast=Clark&title=Piero%20della%20Francesca&date=1951&date=1969http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=J.%20R.&aulast=Banker&title=The%20Culture%20of%20San%20Sepolcro%20during%20the%20Youth%20of%20Piero%20della%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20Francesca&date=2003http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.&aulast=Aronberg%20Lavin&title=The%20Place%20of%20Narrative%3A%20Mural%20Decoration%20in%20Italian%20Churches%2C%20431%E2%80%931600&date=1990&pages=pp.%20167%E2%80%9394


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1996)

I Della Rovere: Piero della Francesca, Raffaello, Tiziano (exh. cat., ed. P. Dal Poggetto; Senigallia,

Palazzo del Duca; Urbino, Pal. Ducale; Pesaro, Pal. Ducale; Urbania, Museo Civico, 2004)

Piero della Francesca e le corti italiane (exh. cat., eds C. Bertelli and A. Paolucci; Arezzo, Gal & Mus.

Med. & Mod., 2007)

Specialist studies

Specific paintings

M. Aronberg Lavin: Piero della Francesca: The Flagellation (Chicago and London, 1972, rev. Chicago,

2/1990)

M. Aronberg Lavin: Piero della Francescas Baptism of Christ (New Haven, 1981)

P. Scapecchi: Enea Silvio Piccolomini, Piero della Francesca e gli affreschi di Arezzo, Prospettiva

[Florence], 32 (1983), pp. 716

M. Aronberg Lavin and M. Laclotte: Piero della Francesca a Rimini: Laffresco nel Tempio Malatestiano

(Bologna, 1984)

C. Ginzburg: The Enigma of Piero: The Baptism, the Arezzo Cycle, the Flagellation (London, 1985);

review by P. Black in Oxford A. J., ix/2 (1986)

J. Pope-Hennessy: Whose Flagellation?, Apollo, cxxiv (1986), pp. 1625

J. R. Banker: Piero della Francescas S Agostino Altarpiece: Some New Documents, Burl. Mag., cxxix

(1987), pp. 64251

L. Bellosi: Giovanni di Piamonte e gli affreschi di Piero ad Arezzo, Prospettiva [Florence], 50 (1987), pp.

1535

J. Guillaud and M. Guillaud: Piero della Francesca, Poet of Form: The Frescoes of San Francesco in

Arezzo (Paris and New York, 1988)

M. G. Paolini, ed.: Ricerche su Piero (Siena, 1989) [essays on the Resurrection, St Louis of Toulouse and

Perugia]

Progetto per Piero della Francesca: Indagini diagnostico-conoscitive per la conservazione della Leggenda

della Vera Croce e della Madonna del parto(Florence, 1989)

G. Centauro: Dipinti murali di Piero della Francesca. La basilica di S Francesco ad Arezzo: Indagini su

sette secoli(Milan, 1990)

F. Lollini: Ancora la Flagellazione: Addenda di bibliografia (e di metodo), Boll. A., 67 (1991), pp. 14950

F. Lollini: Una possibile connotazione antiebraica della Flagellazione di Piero della Francesca, Boll. A.,

65 (1991), pp. 128

E. F. Londei: La scena della Flagellazione di Piero della Francesca: La sua identificazione con un luogo di

Urbino del quattrocento, Boll. A., 65 (1991), pp. 2966

A. S. Tessari: La Flagellazione di Piero della Francesca: Ovvero linstaurazione del Regno di Cristo, A.

Crist., 745 (1991), pp. 27786

M. Calvesi: La Flagellazione di Piero della Francesca: Identikit di un enigma, A. & Dossier, 70 (1992),

pp. 227

Piero della Francesca: Il polittico di Sant Antonio (exh. cat., ed. V. Garibaldi; Perugia, Rocca Paolina,

1993)

M. A. Lavin: Piero della Francesca: San Francesco, Arezzo (New York, 1994)

S. Nessi: Il SantAntonio di Padova di Piero della Francesca nel polittico di Perugia, Santo, xxxiv/1 (Jan

April 1994), pp. 958
http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=S.&aulast=Nessi&title=Santo&volume=xxxiv&issue=1&date=1994%E2%80%93Jan%E2%80%93April&pages=pp.%2095%E2%80%938http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.%20A.&aulast=Lavin&title=Piero%20della%20Francesca%3A%20San%20Francesco%2C%20Arezzo&date=1994http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Piero%20della%20Francesca%3A%20Il%20polittico%20di%20Sant%E2%80%99%20Antonio&aulast=Garibaldi&date=1993http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=M.&aulast=Calvesi&title=%20Art%20et%20dossier%20&issue=70&date=1992&pages=pp.%2022%E2%80%937http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=A.%20S.&aulast=Tessari&title=A.%20Crist.&issue=745&date=1991&pages=pp.%20277%E2%80%9386http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=E.%20F.&aulast=Londei&title=%20Bollettino%20d%E2%80%99arte%20%5Bcont.%20as%20Arti%3A%20Rass.%20Bimest.%20A.%20Ant.%20%26%20Mod.%3B%20Boll.%20A.%5D%20&issue=65&date=1991&pages=pp.%2029%E2%80%9366http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=F.&aulast=Lollini&title=%20Bollettino%20d%E2%80%99arte%20%5Bcont.%20as%20Arti%3A%20Rass.%20Bimest.%20A.%20Ant.%20%26%20Mod.%3B%20Boll.%20A.%5D%20&date=1991&pages=pp.%201%E2%80%9328http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=F.&aulast=Lollini&title=%20Bollettino%20d%E2%80%99arte%20%5Bcont.%20as%20Arti%3A%20Rass.%20Bimest.%20A.%20Ant.%20%26%20Mod.%3B%20Boll.%20A.%5D%20&issue=67&date=1991&pages=pp.%20149%E2%80%9350http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=G.&aulast=Centauro&title=Dipinti%20murali%20di%20Piero%20della%20Francesca.%20La%20basilica%20di%20S%20Francesco%20ad%20Arezzo%3A%20Indagini%20su%20sette%20secoli&date=1990http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Progetto%20per%20Piero%20della%20Francesca%3A%20Indagini%20diagnostico-conoscitive%20per%20la%20conservazione%20della%20%E2%80%98Leggenda%20della%20Vera%20Croce%E2%80%99%20e%20della%20%E2%80%98Madonna%20del%20parto%E2%80%99&date=1989http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&aulast=Paolini&title=Ricerche%20su%20Piero&date=1989http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit1=J.&auinitm=M.&aulast=Guillaud&aulast=Guillaud&title=Piero%20della%20Francesca%2C%20Poet%20of%20Form%3A%20The%20Frescoes%20of%20San%20Francesco%20in%20Arezzo&date=1988http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=L.&aulast=Bellosi&title=Prospettiva&issue=50&date=1987&pages=pp.%2015%E2%80%9335http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=J.%20R.&aulast=Banker&title=%20Burlington%20Magazine%20&volume=cxxix&date=1987&pages=pp.%20642%E2%80%9351http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=J.&aulast=Pope-Hennessy&title=Apollo&volume=cxxiv&date=1986&pages=pp.%20162%E2%80%935http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=C.&aulast=Ginzburg&title=The%20Enigma%20of%20Piero%3A%20The%20%E2%80%98Baptism%E2%80%99%2C%20the%20Arezzo%20Cycle%2C%20the%20%E2%80%98Flagellation%E2%80%99&date=1985&aulast=Black&title=%20Oxford%20Art%20Journal%20&volume=ix&issue=2&date=1986http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit1=M.&auinitm=M.&aulast=Aronberg%20Lavin&aulast=Laclotte&title=Piero%20della%20Francesca%20a%20Rimini%3A%20L%E2%80%99affresco%20nel%20Tempio%20Malatestiano&date=1984http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=P.&aulast=Scapecchi&title=Prospettiva&issue=32&date=1983&pages=pp.%2071%E2%80%936http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.&aulast=Aronberg%20Lavin&title=Piero%20della%20Francesca%E2%80%99s%20%E2%80%98Baptism%20of%20Christ%E2%80%99&date=1981http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=M.&aulast=Aronberg%20Lavin&title=Piero%20della%20Francesca%3A%20The%20%E2%80%98Flagellation%E2%80%99&date=1972http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Piero%20della%20Francesca%20e%20le%20corti%20italiane&aulast=Bertelli&aulast=Paolucci&date=2007http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=I%20Della%20Rovere%3A%20Piero%20della%20Francesca%2C%20Raffaello%2C%20Tiziano&aulast=Dal%20Poggetto&date=2004http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&title=Il%20polittico%20agostiniano%20di%20Piero%20della%20Francesca&aulast=di%20Lorenzo&date=1996


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J. R. Banker: The Altarpiece of the Confraternity of Santa Maria della Misericordia in Borgo Sansepolcro,

Piero della Francesca and his Legacy(Washington, DC, 1995), pp. 2135

B. Diemling: The Meeting of the Queen of Sheba with Solomon: Crusade Propaganda in the Fresco Cycle

of Piero della Francesca in Arezzo, Bruckmanns Pantheon, liii (1995), pp. 1828

M. Michael: Piero della Francesca: The Arezzo Frescoes (London, 1996)

D. Arasse: Piero della Francesca: La Legende dArezzo: Restoration of Mural Paintings at Basilica di San

Francesco, Italy, LOeil, 487 (1997), pp. 4457

H. Damisch : Piera della Francescas Madonna del Parto: Die Konstruktion einer Kinderheitserinnerung,

Aufklrung anstelle von Andacht: Kulturwissenschaftliche Dimensionen bildender Kunst, ed. K. Herding

(Frankfurt am Main, 1997), pp. 12032

L. Simi : La Flagellazione di Piero della Francesca: Un bilancio (provvisorio) e una proposta, Guardate

con i vostri occhi: Saggi di storia dellarte nelle Marche, ed. A. Montironi (Ascoli Piceno, 2002), pp.

11143

Y. Bonnefoy : La strategia dellenigma: Piera della Francesca e La Flagellazione di Cristo, La civilt

delle immagini: Pittori e poeti dItalia, ed. Y. Bonnefoy (Rome, 2005), pp. 1542

P. Longo : Lo spazio nella Flagellazione di Piero della Francesca, Prospettiva e geometria dello spazio

(La Spezia, 2005), pp. 6981

H. Wenzel : Piero della Francesca: die Madonna mite der Perle, Mglichkeitsrume: zur Performativitt

von sensorischer Wahrnehmung, ed. C. Lechtermann (Berlin, 2007), pp. 22953

A. Dillon Bussi : Il Dittico degli incontri e altre opere urbinate di Piero della Francesca, Paragone, n. s.

3, lix/80 (2008), pp. 2039

Other

M. Salmi: Perch Piero della Francesca?, Commentari, 27 (1976), pp. 1216

J. Beck: Una data per Piero della Francesca, Prospettiva [Florence], 25 (1978), p. 53

R. Cocke: Piero della Francesca and the Development of Italian Landscape Painting, Burl. Mag., cxxii

(1980), pp. 62731

G. Agosti and V. Farinella: Calore del marmo. Pratica e tipologia della deduzioni iconografiche. Un artista:

Piero della Francesca, per esempio, Memoria dell antico nell arte italiana, ed. S. Settis, i (Turin, 1984),pp. 42740

F. Dabell: Antonio dAnghiari e gli inizi di Piero della Francesca, Paragone, 417 (1984), pp. 7194

P. Scapecchi: Tu celebras burgi iam cuncta per oppida nomen: Appunti per Piero della Francesca, A.

Crist. (1984), pp. 20921

J. Triolo: Aggiunte bibliografiche a Piero della Francesca, 197083, Piero teorico dellarte, ed. O.

Calabrese (Rome, 1985), pp. 28799

J. Pope-Hennessy: The Mystery of a Master, New Repub., 3715 (1986), pp. 3841

A. Turchini: Limperatore, il santo e il cavaliere: Note su Sigismondo Pandolfo Malatesta e Piero della

Francesca,A. Crist., 714 (1986), pp. 16580

F. Polcri: A proposito di Piero della Francesca: Nuove fonti archivistiche a Sansepolcro, Prop. & Ric., 21

(1988), pp. 3954

J. R. Banker: Un documento inedito del 1432 sullattivit di Piero della Francesca per la chiesa di San

Francesco in Borgo S Sepolcro, Rivista darte [prev. pubd as Misc. A.], 4th ser., vi (1990), pp. 2457

F. Polcri: Due ritrovamenti darchivio a Sansepolcro: Un inedito sul polittico degli Agostiniani di Piero della

Francesca (Sansepolcro, 1990)

F. Polcri: Ritrovamenti pierfrancescani nellarchivio giudiziario di Sansepolcro,Atti Mem. Accad. Petrarca

Lett., A. & Sci., n. s., i (1990), pp. 20317
http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=F.&aulast=Polcri&title=Atti%20Mem.%20Accad.%20Petrarca%20Lett.%2C%20A.%20%26%20Sci.&volume=i&date=1990&pages=pp.%20203%E2%80%9317http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=F.&aulast=Polcri&title=Due%20ritrovamenti%20d%E2%80%99archivio%20a%20Sansepolcro%3A%20Un%20inedito%20sul%20polittico%20degli%20Agostiniani%20di%20Piero%20della%20Francesca&date=1990http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=J.%20R.&aulast=Banker&title=Rivista%20d%E2%80%99arte&volume=vi&date=1990&pages=pp.%20245%E2%80%937http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=F.&aulast=Polcri&title=%20Proposte%20e%20ricerche%20&issue=21&date=1988&pages=pp.%2039%E2%80%9354http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=A.&aulast=Turchini&title=%20Arte%20cristiana%20&issue=714&date=1986&pages=pp.%20165%E2%80%9380http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=J.&aulast=Pope-Hennessy&title=%20New%20Republic%20&issue=3715&date=1986&pages=pp.%2038%E2%80%9341http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=J.&aulast=Triolo&title=Piero%20teorico%20dell%E2%80%99arte&aulast=Calabrese&date=1985&pages=pp.%20287%E2%80%9399http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=P.&aulast=Scapecchi&title=%20Arte%20cristiana%20&date=1984&pages=pp.%20209%E2%80%9321http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=F.&aulast=Dabell&title=Paragone&date=1984&pages=pp.%2071%E2%80%9394http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit1=G.&auinitm=V.&aulast=Agosti&aulast=Farinella&title=Memoria%20dell%E2%80%99%20antico%20nell%E2%80%99%20arte%20italiana&aulast=Settis&volume=i&date=1984&pages=pp.%20427%E2%80%9340http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=R.&aulast=Cocke&title=%20Burlington%20Magazine%20&volume=cxxii&date=1980&pages=pp.%20627%E2%80%9331http://mchoudini.montgomerycollege.edu:2132/subscriber/article_citations/grove/art/T067465#abbr-explainedhttp://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=J.&aulast=Beck&title=Prospettiva&issue=25&date=1978&pages=p.%2053http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=M.&aulast=Salmi&title=Commentari&date=1976&pages=pp.%20121%E2%80%936http://hx6zp3nx8k.search.serialssolutions.com/?genre=journal&sid=oup%3Aoao&auinit=A.&aulast=Dillon%20Bussi&title=Paragone&volume=lix&issue=80&date=2008&pages=pp.%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%2020%E2%80%9339http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=H.&aulast=Wenzel&title=M%C3%B6glichkeitsr%C3%A4ume%3A%20zur%20Performativit%C3%A4t%20von%20sensorischer%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20Wahrnehmung&aulast=Lechtermann&date=2007&pages=pp.%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20229%E2%80%9353http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=P.&aulast=Longo&title=Prospettiva%20e%20geometria%20dello%20spazio&date=2005&pages=pp.%2069%E2%80%9381http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=Y.&aulast=Bonnefoy&title=La%20civilt%C3%A0%20delle%20immagini%3A%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20Pittori%20e%20poeti%20d%E2%80%99Italia&aulast=Bonnefoy&date=2005&pages=pp.%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%2015%E2%80%9342http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=L.&aulast=Simi&title=%E2%80%98Guardate%20con%20i%20vostri%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20occhi%20%E2%80%A6%E2%80%99%3A%20Saggi%20di%20storia%20dell%E2%80%99arte%20nelle%20Marche&aulast=Montironi&date=2002&pages=pp.%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20111%E2%80%9343http://hx6zp3nx8k.search.serialssolutions.com/?genre=book&sid=oup%3Aoao&auinit=H.&aulast=Damisch&title=Aufkl%C3%A4rung%20anstelle%20von%0A%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20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opyright Oxford University Press 2007 2011.

F. Dabell: New Documents for the History and Patronage of the Compagnia della SS Trinit in Arezzo, A.

Crist., 747 (1991), pp. 41217

D. Franklin: An Unrecorded Commission for Piero della Francesca in Arezzo, Burl. Mag., cxxxiii (1991),

pp. 1934

L. B. Kanter: Luca Signorelli, Piero della Francesca, and Pietro Perugino, Stud. Stor. A., i (1991), pp.

95111

J. R. Banker: Piero della Francesca, il fratello Don Francesco di Benedetto e Francesco dal Borgo,

Prospettiva, 68 (1992), pp. 546

C. B. Cappel: On la testa proportionalmente degradata: Luca Signorelli, Leonardo, and Piero dellaFrancescas De prospectiva pingendi, Florentine Drawing at the Time of Lorenzo the Magnificent: Papers

from a Colloquium held at the Villa Spelman: Florence, 1992, pp. 1743

P. G. Pasini: Piero e i Malatesti: Lattivit di Piero della Francesca per le corti romagnole (Milan, 1992)

J. R. Banker: Piero della Francesca as Assistant to Antonio dAnghiari in the 1430s: Some Unpublished

Documents, Burl. Mag., cxxxv (1993), pp. 1621

C. E. Gilbert: Piero della Francesca et Giorgione: Problmes dinterprtation (Paris, 1994)

M. Aronberg Lavin, ed.: Piero della Francesca and his Legacy(Washington, DC, 1995)

C. Cieri Via and M. Emiliani Dalai, eds: Piero 500 anni(Venice, 1995)

M. Kemp: In the Light of Dante: Meditations on Natural and Divine Light in Piero della Francesca,

Raphael and Michelangelo,Ars naturam adiuvans: Festschrift fr Matthias Winner, ed. V. V. Flemming

and S. Schutze (Mainz, 1996), pp. 16077

R. Bellucci and C. Frosinini: Esempi di studio dell underdrawing: Il caso di Piero della Francesca, Oltre

il visibile: Indagini riflettografiche, ed. D. Bertani (Milan, 2001), pp. 14566

C. Bertelli : Il ritratto nellopera di Piero della Francesca, Le metamorfosi del ritratto, ed. R. Zorzi

(Florence, 2002), pp. 6372

M. Aronberg Lavin : Piero della Francesca and Narrative Encapsulation: e.g., the Cock on the Column,

Artibus & Hist., xxv/49 (2004), pp. 918

C. Bertelli : Mantegna e Piero della Francesca a Ferrara, Nel segno di Andrea Mantegna: Arte e cultura a

Mantova in et rinascimentale (Modena, 2006), pp. 627

C. S. Wood : Piero della Francesca, Liminologist, Bilder, Rume, Betrachter: Festschrift fr Wolfgang

Kemp zum 60. Geburtstag, ed. S. Bogen (Berlin, 2006), pp. 25269

A. Antoniutti : Piero della Francesca a Roma, la committenza di Pio II e del cardinale Guillaume

dEstouteville, Il 400 a Roma: La rinascita delle arti da Donatello a Perugino , ed. M. G. Bernardini

(Milan, 2008), pp. 1617

Frank Dabell
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