the'' Resurrection'' by Piero della Francesca in Sansepolcro in the museum

The centerpiece of the composition is the figure of Christ, which divides the landscape into two parts, one on the right one on the left dying lush, these symbols evoke '' the good and bad government '' fresco by Lorenzetti in Siena that had such an influence on painting Tuscany . Piero sits dormant at the foot of the sarcophagus and the rod of the flag with the cross of the Guelph party keeps him in direct contact with the deity, as if it would inspire the Piero politician who was elected in 1442 Adviser of the people ('Hercules' Agnoletti' 'characters Sansepolcro''BVE0116112) and sat in the adjoining room al'affresco. Normal that he would take advantage of image, perhaps meditating in those years to a political career. How maggiorente the community and with his father, who sat on the city council, he had every right to a seat. THE council met in the hall behind the fresco of the resurrection hall of a palace built by the Malatesta because it would bring together the city council said '' council of conservative ''.
While the soldier's spear and the shield indicates the direction of the tip '' Chimney Mountain '' the mountain where the river Tiber (I checked with a compass), the soldier leaning with your elbows close to the right corner by stone who looks at the painting seems to indicate the stone, an expression of the philosophy of the medieval scholastics who spoke of the then non-existent intentional mental object and the content of this direction.
Today, after Bertrand Russell, one can not regardless of his teachings which you can not escape a character in the transition from the Middle Ages to the Renaissance that was Piero della Francesca. The figure of Christ appears to reflect the full force of reason in the possession of the subject by the rise in the exaltation of Christ Piero, Piero makes him a character in second place to his knowledge, you can believe or not to believe the stories inspiring but the reality is that matter is that to put it to Russell about the relationship between mind and matter: "Let the mind, whether the matter seem to be composite" and that's how the world is made.
Little is known of an imaginary shift of the fresco in 1479, by another wall, maybe it was restored and new building works involving the Resurrection marginally since the infrared analysis and other techniques to date not year revealed the track insertion in the wall that should have been if they had been made ​​the work pleasant that it had not been a rotation of the wall because it would change very little reading done by me.
Buttazzo Carlo Marino