A History of European Art

Lecture 16: Piero della Francesca in Arezzo

and spring are both pictured in the landscape, which is symbolic of the

Resurrection. Piero treats the subject objectively, letting it stand on its own.

The Italian word terribilitá, which means “awesomeness,” is often applied

to Michelangelo’s ¿ gures, particularly in the Sistine Chapel, but it is also

applicable to Piero’s Resurrection. The painting was made for the building

in which it remains, the town hall of Borgo San Sepolcro, the name meaning

town of the Holy Sepulcher. Ŷ

Piero della Francesca:

Baptism of Christ, c. 1450, tempera on panel, 66 x 46’’ (167 x 116 cm),

National Gallery, London, Great Britain.

Legend of the True Cross and details: Death of Adam, Story of Solomon

and the Queen of Sheba, Dream of Constantine, Discovery and

Ve r i¿ cation of the True Cross, Annunciation, c. 1455, fresco, Church of

S. Francesco, Arezzo, Italy.

Resurrection, late 1450s, fresco, 7’ 6” x 6’ 6 ½” (228.6 x 198.3 cm),

Pinacoteca Comunale, San Sepolcro, Italy.

Bertelli, Piero della Francesca.

Lightbown, Piero Della Francesca.

1. How does geometry contribute to Piero della Francesca’s paintings?


2. How does scene placement in a work like the Legend of the True Cross
   affect the overall signi¿ cance or success of the art?

Works Discussed

Suggested Reading

Questions to Consider