29:
274:, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.
191:
Federico da
Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background
207:
beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies. The saints at the left of the
Madonna are generally identified as
170:
Some sources suggest that the work was commissioned to celebrate the birth of
Federico's son, Guidobaldo, who was born in 1472. According to this hypothesis, the Child could represent Guidobaldo, while the Virgin may have the appearance of
187:, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and
159:, which he received in the later year. When it was rediscovered at the Brera at the end of the 19th century, the painting was so disfigured by darkened varnish it was attributed to
200:
at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.
245:
240:
like Piero della
Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of
586:
554:
516:
578:
547:
439:
462:
731:
485:
196:
of a church in
Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted
736:
726:
501:
277:
According to
Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of
531:
252:
751:
746:
251:
Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the
698:
639:
409:
432:
679:
563:
425:
470:
741:
290:
256:
103:
244:. Francis, finally, would be present as the painting was originally thought for the Franciscan church of
128:
323:
Lavin, Marilyn (December 1969). "Piero della
Francesca's Montefeltro Altarpiece: A Pledge of Fidelity".
136:
761:
721:
665:
624:
448:
221:
107:
39:
756:
601:
8:
368:
213:
184:
156:
123:
111:
139:. According to other sources, it would celebrate his conquest of several castles in the
524:
271:
336:
332:
209:
225:
232:. In the last figure, the Italian historian Ricci has identified a portrait of
175:, Federico's wife, who died in the same year and was buried at San Bernardino.
132:
715:
172:
160:
380:
Lavin 2002 reports the loss at the right side and loss of floor at the base.
155:
is established by the absence from
Federico's figure of the insignia of the
28:
233:
229:
164:
278:
267:
237:
188:
65:
248 cm × 150 cm (98 in × 59 in)
417:
263:
241:
140:
217:
204:
115:
74:
255:
beneath the feet of the Virgin, reflecting the influence of
197:
193:
587:
Diptych of
Federico da Montefeltro and Battista Sforza
151:
The painting was executed between 1472 and 1474; the
216:(dedicatee of the painting's original location) and
713:
161:Fra Carnevale (Bartolomeo di Giovanni Corradini)
270:is hanging. The shell was a symbol of the new
433:
110:, executed in 1472–1474. It is housed in the
135:, to celebrate the birth of Federico's son,
440:
426:
27:
502:Portrait of Sigismondo Pandolfo Malatesta
447:
203:The Child wears a necklace of deep red
714:
118:, where it was deposited by Napoleon.
699:The Frescoes of Piero della Francesca
421:
393:
322:
281:barely visible in the upper corners.
732:Paintings in the Pinacoteca di Brera
248:, where Federico was later buried.
13:
737:Paintings of the Madonna and Child
727:Paintings by Piero della Francesca
14:
773:
680:De quinque corporibus regularibus
403:
16:Painting by Piero della Francesca
358:Noted, e.g. by Lavin 2002:271f.
121:The work, of a type known as a
752:Paintings of Francis of Assisi
374:
361:
352:
343:
337:10.1080/00043079.1969.10790303
316:
309:Marilyn Aronberg Lavin, 2002.
303:
178:
1:
747:Paintings of John the Baptist
644:
629:
606:
591:
568:
556:Polyptych of the Misericordia
537:
506:
491:
476:
296:
517:Saint Julian the Hospitaller
291:Italian Renaissance painting
257:Early Netherlandish painting
7:
284:
262:The apse ends with a shell
246:San Donato degli Osservanti
129:Federico III da Montefeltro
10:
778:
579:Saint Augustine Altarpiece
387:
236:, a mathematician born in
690:
669:(treatise on perspective)
657:
472:History of the True Cross
455:
146:
69:
61:
53:
45:
35:
26:
21:
675:(treatise on arithmetic)
349:E.g. by Lavin 2002:270f.
220:; on the right would be
683:(treatise on polyhedra)
666:De Prospectiva pingendi
548:Saint Louis of Toulouse
394:Zuggi, Stefano (1991).
102:) is a painting by the
702:(1955 orchestral work)
464:Flagellation of Christ
183:The work represents a
127:, was commissioned by
96:Montefeltro Altarpiece
625:Madonna di Senigallia
449:Piero della Francesca
396:Piero della Francesca
311:Piero della Francesca
108:Piero della Francesca
73:Pinacoteca di Brera,
40:Piero della Francesca
602:Polyptych of Perugia
410:Page at artonline.it
367:Lavin 2002 suggests
163:, as Piero's use of
742:Paintings of Jerome
369:John the Evangelist
214:Bernardino of Siena
185:sacred conversation
167:was not yet known.
157:Order of the Garter
124:sacra conversazione
112:Pinacoteca di Brera
104:Italian Renaissance
88:(also known as the
339:– via JSTOR.
153:terminus ante quem
709:
708:
525:Madonna del Parto
487:Baptism of Christ
398:. Milan: Elemond.
80:
79:
22:The Brera Madonna
769:
673:Trattato d'abaco
649:
648: 1470–1475
646:
634:
631:
611:
608:
596:
595: 1465–1472
593:
573:
570:
542:
539:
511:
508:
496:
495: 1448–1450
493:
481:
478:
442:
435:
428:
419:
418:
414:
399:
381:
378:
372:
365:
359:
356:
350:
347:
341:
340:
325:The Art Bulletin
320:
314:
307:
210:John the Baptist
192:consists of the
100:Brera Altarpiece
57:Tempera on panel
31:
19:
18:
777:
776:
772:
771:
770:
768:
767:
766:
762:Churches in art
722:1470s paintings
712:
711:
710:
705:
686:
653:
647:
632:
609:
594:
571:
540:
509:
494:
479:
451:
446:
412:
406:
390:
385:
384:
379:
375:
366:
362:
357:
353:
348:
344:
321:
317:
308:
304:
299:
287:
253:oriental carpet
181:
173:Battista Sforza
149:
17:
12:
11:
5:
775:
765:
764:
759:
754:
749:
744:
739:
734:
729:
724:
707:
706:
704:
703:
694:
692:
688:
687:
685:
684:
676:
670:
661:
659:
655:
654:
652:
651:
636:
621:
613:
598:
583:
575:
560:
552:
544:
529:
521:
513:
498:
483:
468:
459:
457:
453:
452:
445:
444:
437:
430:
422:
416:
415:
405:
404:External links
402:
401:
400:
389:
386:
383:
382:
373:
360:
351:
342:
331:(4): 367–371.
315:
301:
300:
298:
295:
294:
293:
286:
283:
266:from which an
180:
177:
148:
145:
133:Duke of Urbino
78:
77:
71:
67:
66:
63:
59:
58:
55:
51:
50:
47:
43:
42:
37:
33:
32:
24:
23:
15:
9:
6:
4:
3:
2:
774:
763:
760:
758:
755:
753:
750:
748:
745:
743:
740:
738:
735:
733:
730:
728:
725:
723:
720:
719:
717:
701:
700:
696:
695:
693:
689:
682:
681:
677:
674:
671:
668:
667:
663:
662:
660:
656:
642:
641:
637:
627:
626:
622:
619:
618:
617:Brera Madonna
614:
604:
603:
599:
589:
588:
584:
581:
580:
576:
566:
565:
561:
558:
557:
553:
550:
549:
545:
535:
534:
530:
527:
526:
522:
519:
518:
514:
504:
503:
499:
489:
488:
484:
474:
473:
469:
466:
465:
461:
460:
458:
454:
450:
443:
438:
436:
431:
429:
424:
423:
420:
411:
408:
407:
397:
392:
391:
377:
370:
364:
355:
346:
338:
334:
330:
326:
319:
312:
306:
302:
292:
289:
288:
282:
280:
275:
273:
269:
265:
260:
258:
254:
249:
247:
243:
239:
235:
231:
227:
223:
219:
215:
211:
206:
201:
199:
195:
190:
186:
176:
174:
168:
166:
165:oil technique
162:
158:
154:
144:
142:
138:
134:
130:
126:
125:
119:
117:
113:
109:
105:
101:
97:
93:
92:
91:Pala di Brera
87:
86:
85:Brera Madonna
76:
72:
68:
64:
60:
56:
52:
48:
44:
41:
38:
34:
30:
25:
20:
697:
678:
672:
664:
640:The Nativity
638:
623:
616:
615:
600:
585:
577:
562:
555:
546:
533:Resurrection
532:
528:(after 1457)
523:
515:
500:
486:
471:
463:
413:(in Italian)
395:
376:
363:
354:
345:
328:
324:
318:
310:
305:
279:entablatures
276:
261:
250:
234:Luca Pacioli
226:Peter Martyr
202:
182:
169:
152:
150:
122:
120:
99:
95:
90:
89:
84:
83:
81:
757:Altarpieces
633: 1474
620:(1472–1474)
610: 1470
582:(1454–1469)
572: 1465
559:(1460–1462)
541: 1460
520:(1454–1458)
510: 1451
480: 1447
467:(1455–1460)
268:ostrich egg
238:Sansepolcro
189:condottiero
179:Description
716:Categories
297:References
137:Guidobaldo
62:Dimensions
456:Paintings
264:semi-dome
242:Humanists
658:Writings
564:Hercules
313:, p.266.
285:See also
70:Location
691:Related
388:Sources
222:Francis
141:Maremma
106:master
551:(1460)
230:Andrew
218:Jerome
147:Dating
94:, the
54:Medium
36:Artist
272:Venus
205:coral
116:Milan
75:Milan
228:and
198:apse
194:apse
82:The
49:1472
46:Year
333:doi
114:of
98:or
718::
645:c.
630:c.
607:c.
592:c.
569:c.
538:c.
507:c.
492:c.
477:c.
329:51
327:.
259:.
224:,
212:,
143:.
131:,
650:)
643:(
635:)
628:(
612:)
605:(
597:)
590:(
574:)
567:(
543:)
536:(
512:)
505:(
497:)
490:(
482:)
475:(
441:e
434:t
427:v
371:.
335::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
