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122:, the chief magistrates and governors, who, before starting their councils, would pray before the image. "The secular and spiritual meanings of the painting were always intimately intertwined." Placed high on the interior wall facing the entrance, the fresco includes an allusion to the name of the city (meaning "Holy Sepulchre"), derived from the presence of two relics of the Holy Sepulchre carried here by two pilgrims in the 9th century. Della Francesca's 'Christ' is also featured on the town's coat of arms.
213:, which states: "It stands there before us in entire and actual splendour, the greatest picture in the world." It was later ascertained that the Germans were in retreat from the area – the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.
356:(2006). Quote: "You are totally absorbed into reality, in a way, of the image, and you don't notice – it's perfectly true – that one of the guards has no legs. The arrangement of the guards is so perfect, so clever, so symmetrical, so balanced – in terms of colour, in terms of form – that actually the fact that he's got no room to put these legs in ceases to be important, and you don't notice for ages and ages and ages that he's legless."
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181:. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus's face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.
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notes that apart from the wound, Christ's "body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his
142:
as "athletic"), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ's light). His figure in the commune's council hall "both protects the judge and purifies the judged" according to
Marilyn Aronberg Lavin. The
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landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the
Resurrection's light.
174:, the sleeping soldier in brown armor on Christ's right is a self-portrait of Piero. The contact between the soldier's head and the pole of the banner carried by Christ is supposed to represent his contact with the divinity.
201:
officer
Anthony ('Tony') Clarke defied orders and held back from using his troop's guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in
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A chunk of stone can be seen in the lower right hand of the fresco, "and thus we are told to recognize this stone as the founding relic carried here from the Holy Land by Saints Arcano and Egidio".
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The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out so as not to break the balance of the composition.
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and, apparently remembering where he had read of
Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. A lover of art, Clarke had read
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Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.
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La
Resurrezione di Piero della Francesca: il restauro della "pittura più bella del mondo", tra memorie di storia civica e scoperte
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Amintore
Fanfani e Giulio Gambassi, Il Cristo Risorto di Piero della Francesca: Una battaglia per l'arte
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a document of 1474 concerning structural repairs to the building mentions the painting
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The banner of a red cross on a white field was a convention observed by both
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Jesus is in the centre of the composition, portrayed in the moment of his
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225 cm × 200 cm (89 in × 79 in)
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The residenza was returned by
Florentine authorities to the citizens of
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According to tradition and by comparison with the woodcut illustrating
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left leg. Piero emphasises his twofold nature, as both man and God."
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Sansepolcro was spared much damage during World War 2 when
British
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di Piero della
Francesca: un'ipotesi di ricostruzione", in
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Refice, Paola. "La frammentaria epigrafe dipinta nella
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Diptych of
Federico da Montefeltro and Battista Sforza
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1492. Rivista della Fondazione Piero della Francesca»
118:, the communal meeting hall. This was used solely by
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When the fresco was moved, an inscription was lost.
177:The composition is unusual in that it contains two
110:Piero was commissioned to paint the fresco for the
480:Il Cristo Risorto di Piero immagini rare e desuete
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491:. Firenze: Grafica European Center of Fine Arts.
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377:in Berlin); illustrations, for example, in
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630:Portrait of Sigismondo Pandolfo Malatesta
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395:. Great Britain: Pelican. p. 166.
827:The Frescoes of Piero della Francesca
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540:Resurrection by Piero della Francesca
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877:Paintings by Piero della Francesca
503:, vol. IX (2016), no. 1, pp. 15–33
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808:De quinque corporibus regularibus
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409:Butcher, Tim (24 December 2011).
369:(in his San Zeno altarpiece) and
349:The Private Life of a Masterpiece
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257:Aronberg Lavin, Marilyn (2002).
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499:: questioni iconografiche", in
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482:. Sansepolcro: Aboca Museum.
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463:Frosinini, Cecilia (2022).
261:. Phaidon. pp. 234ff.
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794:De Prospectiva pingendi
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518:Zuggi, Stefano (1991).
830:(1955 orchestral work)
592:Flagellation of Christ
391:Kline, Morris (1953).
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577:Piero della Francesca
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730:Polyptych of Perugia
542:at Wikimedia Commons
255:. Dates as given in
411:"The man who saved
379:Aronberg Lavin 2002
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324:Aronberg Lavin 2002
311:Aronberg Lavin 2002
289:Andrew Graham-Dixon
224:100 Great Paintings
155:Andrew Graham-Dixon
93:Italian Renaissance
447:2013-04-18 at the
442:"The Best Picture"
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522:. Milan: Elemond.
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761: 1474
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648:(1454–1458)
638: 1451
608: 1447
595:(1455–1460)
512:Prospettiva
426:24 February
245:Sansepolcro
193:Tony Clarke
136:sarcophagus
126:Composition
101:Sansepolcro
75:Sansepolcro
866:Categories
293:"ITP 157:
232:References
62:Dimensions
584:Paintings
467:, Edifir
199:artillery
116:Residenza
107:, Italy.
786:Writings
692:Hercules
445:Archived
420:BBC News
373:(in his
217:See also
70:Location
49:c. 1460s
819:Related
451:, 1925.
249:Tuscany
114:-style
105:Tuscany
95:master
842:Portal
679:(1460)
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207:Huxley
112:Gothic
89:fresco
57:Fresco
36:Artist
253:Borgo
87:is a
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428:2012
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