147:
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."
851:
535:
29:
190:
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.
157:
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
143:
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
322:
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".
161:
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.
444:
170:
205:
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
714:
539:
891:
682:
644:
706:
881:
675:
567:
590:
613:
441:
876:
629:
150:
Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.
886:
465:
La
Resurrezione di Piero della Francesca: il restauro della "pittura più bella del mondo", tra memorie di storia civica e scoperte
292:
826:
767:
560:
266:
807:
472:
348:
691:
553:
598:
92:
134:, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical
489:
Amintore
Fanfani e Giulio Gambassi, Il Cristo Risorto di Piero della Francesca: Una battaglia per l'arte
841:
871:
793:
752:
576:
198:
131:
96:
39:
729:
138:. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by
146:
8:
288:
223:
154:
111:
855:
273:
a document of 1474 concerning structural repairs to the building mentions the painting
652:
468:
262:
370:
448:
366:
178:
410:
165:
865:
744:
365:
The banner of a red cross on a white field was a convention observed by both
206:
202:
139:
251:, in 1459 as a sign of the restoration of some measure of autonomy to the
130:
Jesus is in the centre of the composition, portrayed in the moment of his
244:
135:
100:
74:
65:
225 cm × 200 cm (89 in × 79 in)
545:
243:
The residenza was returned by
Florentine authorities to the citizens of
164:
According to tradition and by comparison with the woodcut illustrating
158:
left leg. Piero emphasises his twofold nature, as both man and God."
99:, painted in the 1460s in the Palazzo della Residenza in the town of
419:
197:
Sansepolcro was spared much damage during World War 2 when
British
248:
104:
534:
88:
28:
850:
189:
329:
510:
di Piero della
Francesca: un'ipotesi di ricostruzione", in
506:
Refice, Paola. "La frammentaria epigrafe dipinta nella
715:
Diptych of
Federico da Montefeltro and Battista Sforza
839:
501:
1492. Rivista della Fondazione Piero della Francesca»
118:, the communal meeting hall. This was used solely by
309:
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
863:
491:. Firenze: Grafica European Center of Fine Arts.
287:
378:
335:
323:
310:
283:
281:
256:
561:
514:, nos. 163/164 (July–October 2016), pp. 95–97
892:Paintings in the Museo Civico di Sansepolcro
377:in Berlin); illustrations, for example, in
341:
278:
568:
554:
404:
402:
27:
630:Portrait of Sigismondo Pandolfo Malatesta
575:
188:
145:
882:Paintings of the Resurrection of Christ
408:
399:
864:
395:. Great Britain: Pelican. p. 166.
827:The Frescoes of Piero della Francesca
549:
540:Resurrection by Piero della Francesca
390:
384:
184:
13:
877:Paintings by Piero della Francesca
503:, vol. IX (2016), no. 1, pp. 15–33
14:
903:
808:De quinque corporibus regularibus
527:
409:Butcher, Tim (24 December 2011).
369:(in his San Zeno altarpiece) and
349:The Private Life of a Masterpiece
849:
533:
257:Aronberg Lavin, Marilyn (2002).
887:Fresco paintings in Sansepolcro
499:: questioni iconografiche", in
457:
434:
16:Fresco by Piero della Francesca
393:Mathematics in Western Culture
359:
316:
303:
237:
125:
1:
772:
757:
734:
719:
696:
684:Polyptych of the Misericordia
665:
634:
619:
604:
487:Manescalchi, Roberto (2008).
478:Manescalchi, Roberto (2008).
231:
209:'s 1925 essay describing the
645:Saint Julian the Hospitaller
482:. Sansepolcro: Aboca Museum.
7:
463:Frosinini, Cecilia (2022).
261:. Phaidon. pp. 234ff.
216:
10:
908:
707:Saint Augustine Altarpiece
352:– Piero della Francesca's
818:
797:(treatise on perspective)
785:
600:History of the True Cross
583:
297:by Piero della Francesca"
69:
61:
53:
45:
35:
26:
21:
803:(treatise on arithmetic)
811:(treatise on polyhedra)
794:De Prospectiva pingendi
676:Saint Louis of Toulouse
518:Zuggi, Stefano (1991).
830:(1955 orchestral work)
592:Flagellation of Christ
391:Kline, Morris (1953).
194:
151:
753:Madonna di Senigallia
577:Piero della Francesca
520:Piero della Francesca
259:Piero della Francesca
192:
171:Lives of the Painters
149:
97:Piero della Francesca
40:Piero della Francesca
730:Polyptych of Perugia
542:at Wikimedia Commons
255:. Dates as given in
411:"The man who saved
379:Aronberg Lavin 2002
336:Aronberg Lavin 2002
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"
381:, figures 154, 155
195:
152:
837:
836:
653:Madonna del Parto
615:Baptism of Christ
538:Media related to
522:. Milan: Elemond.
227:, 1980 BBC series
80:
79:
899:
854:
853:
845:
801:Trattato d'abaco
777:
776: 1470–1475
774:
762:
759:
739:
736:
724:
723: 1465–1472
721:
701:
698:
670:
667:
639:
636:
624:
623: 1448–1450
621:
609:
606:
570:
563:
556:
547:
546:
537:
523:
495:Refice, Paola. "
492:
483:
452:
440:Huxley, Aldous.
438:
432:
431:
429:
427:
413:The Resurrection
406:
397:
396:
388:
382:
371:Giovanni Bellini
363:
357:
354:The Resurrection
345:
339:
333:
327:
320:
314:
307:
301:
300:
295:The Resurrection
285:
276:
275:
241:
185:Near-destruction
179:vanishing points
91:painting by the
84:The Resurrection
31:
22:The Resurrection
19:
18:
907:
906:
902:
901:
900:
898:
897:
896:
872:1460s paintings
862:
861:
860:
848:
840:
838:
833:
814:
781:
775:
760:
737:
722:
699:
668:
637:
622:
607:
579:
574:
530:
517:
497:La Resurrezione
486:
477:
460:
455:
449:Wayback Machine
439:
435:
425:
423:
407:
400:
389:
385:
367:Andrea Mantegna
364:
360:
346:
342:
334:
330:
321:
317:
308:
304:
286:
279:
269:
242:
238:
234:
219:
187:
128:
17:
12:
11:
5:
905:
895:
894:
889:
884:
879:
874:
859:
858:
835:
834:
832:
831:
822:
820:
816:
815:
813:
812:
804:
798:
789:
787:
783:
782:
780:
779:
764:
749:
741:
726:
711:
703:
688:
680:
672:
657:
649:
641:
626:
611:
596:
587:
585:
581:
580:
573:
572:
565:
558:
550:
544:
543:
529:
528:External links
526:
525:
524:
515:
504:
493:
484:
475:
459:
456:
454:
453:
433:
398:
383:
358:
340:
338:, p. 244.
328:
326:, p. 243.
315:
313:, p. 241.
302:
277:
268:978-0714838526
267:
235:
233:
230:
229:
228:
218:
215:
186:
183:
166:Giorgio Vasari
127:
124:
78:
77:
73:Museo Civico,
71:
67:
66:
63:
59:
58:
55:
51:
50:
47:
43:
42:
37:
33:
32:
24:
23:
15:
9:
6:
4:
3:
2:
904:
893:
890:
888:
885:
883:
880:
878:
875:
873:
870:
869:
867:
857:
852:
847:
846:
843:
829:
828:
824:
823:
821:
817:
810:
809:
805:
802:
799:
796:
795:
791:
790:
788:
784:
770:
769:
765:
755:
754:
750:
747:
746:
745:Brera Madonna
742:
732:
731:
727:
717:
716:
712:
709:
708:
704:
694:
693:
689:
686:
685:
681:
678:
677:
673:
663:
662:
658:
655:
654:
650:
647:
646:
642:
632:
631:
627:
617:
616:
612:
602:
601:
597:
594:
593:
589:
588:
586:
582:
578:
571:
566:
564:
559:
557:
552:
551:
548:
541:
536:
532:
531:
521:
516:
513:
509:
505:
502:
498:
494:
490:
485:
481:
476:
474:
473:9788879709729
470:
466:
462:
461:
450:
446:
443:
437:
422:
421:
416:
414:
405:
403:
394:
387:
380:
376:
372:
368:
362:
355:
351:
350:
344:
337:
332:
325:
319:
312:
306:
298:
296:
290:
284:
282:
274:
270:
264:
260:
254:
250:
246:
240:
236:
226:
225:
221:
220:
214:
212:
208:
204:
203:Monte Cassino
200:
191:
182:
180:
175:
173:
172:
167:
162:
159:
156:
148:
144:
141:
140:Aldous Huxley
137:
133:
123:
121:
117:
113:
108:
106:
102:
98:
94:
90:
86:
85:
76:
72:
68:
64:
60:
56:
52:
48:
44:
41:
38:
34:
30:
25:
20:
825:
806:
800:
792:
768:The Nativity
766:
751:
743:
728:
713:
705:
690:
683:
674:
661:Resurrection
660:
659:
656:(after 1457)
651:
643:
628:
614:
599:
591:
519:
511:
508:Resurrezione
507:
500:
496:
488:
479:
464:
458:Bibliography
436:
424:. Retrieved
418:
412:
392:
386:
375:Resurrection
374:
361:
353:
347:
343:
331:
318:
305:
294:
272:
258:
252:
239:
222:
211:Resurrection
210:
196:
176:
169:
163:
160:
153:
132:resurrection
129:
120:Conservatori
119:
115:
109:
83:
82:
81:
856:Visual arts
761: 1474
748:(1472–1474)
738: 1470
710:(1454–1469)
700: 1465
687:(1460–1462)
669: 1460
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)
471:
265:
207:Huxley
112:Gothic
89:fresco
57:Fresco
36:Artist
253:Borgo
87:is a
469:ISBN
428:2012
263:ISBN
54:Type
46:Year
168:'s
868::
773:c.
758:c.
735:c.
720:c.
697:c.
666:c.
635:c.
620:c.
605:c.
417:.
401:^
291:.
280:^
271:.
247:,
103:,
844::
778:)
771:(
763:)
756:(
740:)
733:(
725:)
718:(
702:)
695:(
671:)
664:(
640:)
633:(
625:)
618:(
610:)
603:(
569:e
562:t
555:v
430:.
415:"
299:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)
