HKB
Piero della Francesca (Umbrian: about 1416-1492).
This great Umbrian master was a native of Borgo San Sepolcro in Umbria, but studied in Florence, where it is probable that he was a pupil of Paolo Uccello (see 583). A combination of the characteristics of the two schools is to be seen in the work of Piero, who had at the same time a marked individuality of his own. "He has the imaginative impulse, the Umbrian sense of an inner, an almost mystic beauty, of a certain aloofness from earth and uplifting of the soaring spirit; and yet on the other side of his character he is strongly scientific; he studies perspective, the projection of shadows, the scheme of values; he fills his work with light and atmosphere, and improves on the oil methods of the earlier Florentines" (Brinton's Renaissance in Italian Art, iii. 85). "By dignity of portraiture, by loftiness of style, and by a certain poetical solemnity of imagination he raised himself above the level of the mass of his contemporaries. Those who have once seen his fresco of the 'Resurrection' at Borgo San Sepolcro [in the Pinacoteca] will never forget the deep impression of solitude and aloofness from all earthly things produced by it" (Symonds, iii. 170). A copy of this fresco may be seen in the Arundel Society's collection. The picture now before us also well illustrates the skill in dealing with technical difficulties and the solemn grandeur of conception which characterise the painter. Piero della Francesca was so called after his mother,[162] "Francesca's Peter," for, says Vasari, "he had been brought up solely by herself, who furthermore assisted him in the attainment of that learning to which his good fortune had destined him." He received at first a scientific education, and possessed, adds Vasari, "a considerable knowledge of Euclid, inasmuch that he understood all the most important properties of rectilinear bodies better than any other geometrician." In a treatise on perspective, written in the vulgar tongue, he reduced the science to "rules which have hardly admitted of subsequent improvement." These studies influenced Piero's tendencies in art. "The laws of aerial perspective, of the harmony of colours, the proportions of light and shade, and the position of objects in space were equally developed by one whose feeling for precise calculation went pari passu with that of pictorial representation. In this combination of science and art he was strictly the precursor of Leonardo da Vinci. Fra Luca Paccioli, a celebrated mathematician, and an intimate friend of Piero, was in later years in constant communication with Leonardo" (Layard, i. 215). Piero probably acquired the new method of oil painting from Domenico Veneziano (see 766), whom he assisted in some wall paintings in S. Maria Nuova in Florence in 1439, and with whom he afterwards worked at Loreto. Some of his best works are to be seen in his native city, and at Arezzo he painted a remarkable series of frescoes for the church of S. Francesco. Piero was also employed at Urbino, where he appears to have been the guest of Raphael's father, Giovanni Santi. He worked also in Rimini and Ferrara, and was called to Rome to paint two frescoes in the Vatican, which were afterwards destroyed to make room for the works of Raphael. His later, like his earlier years, were devoted to mathematical studies, and in his old age "the ban Of blindness struck both palette from his thumb And pencil from his finger." Among his pupils Vasari mentions Perugino and Signorelli.