Piero della Francesca, The Resuretion

    The pivot of the composition is made up of the figure of the Christ dividing the landscape into two parts, the one on the right lush that left to the left, these symbols recall the "good and bad government" of the Lorenzetti fresco in Siena that so influenced the Tuscany painting . Piero sits at the foot of the sarcophagus, and the rod's stem with the cross of the Guelfa side keeps him in direct contact with the divinity, as if it inspired the political Piero who had been elected in 1442 by the councilor of the people ('' Ercole Agnoletti ' 'Characters of Sansepolcro''BVE0116112) and sat in the adjoining room. Normally he would take advantage of the image, perhaps meditating in those years at a political career. As a member of the community and his father sitting in the city council, he had all the rights of a seat. The council that in the short passage of Sansepolcro in the territory of the church was abolished, it was regained from Florence when Sansepolcro definitively entered his territory and gathered in the room behind the aisle of the resurrection.

While the soldier's spear with the shield indicates the direction of "Monte Fumaiolo" the mountain where the Tiber river was born (I checked it with a compass), the soldier leaning against the elbow next to the stone in the right corner from Those who look at the painting seem to indicate the stone, an expression of the philosophy of the medieval scholars who spoke of the intentional and mental mentality of the object and the content of the direction towards it.

Today, after Bertrand Russell, he can not be without regard to his teachings to which a character of the transition from the Middle Ages to the Renaissance that was Piero della Francesca did not escape. The figure of Christ seems to reflect all the power of reason in Piero's possession of possession in the exaltation of the ascent of Christ, and Piero makes him a second-rate character over his science, one can believe or not believe in the affair But the reality is that matter is to say in Russell's words about the relationship between mind and matter: "Both the mind and the matter seem to be composite" and it is that the world is composed.

Little is known about a fresco displacement in 1479, perhaps it was restorations and new murals that involved the Resurrection in a marginal way


I was struck by how Piero had been treated so metaphysically as to make him a vector of Catholic or religious spirituality in general, that he might as well have to carry a supposed scientific proof of religion.

Piero della Francesca e Kafka
Perhaps if it were not for the Koreans and media support to the fear that they are doing, I would not have thought of a nuclear war I would not have made a parallel between Piero della Francesca's "Resurrection" and the "Metamorphosis" of Kafka after the sinking of the Kursk in the Baltic, and perhaps because a sinking submarine did not rise anyway. The Metamorphosis Kafkiana is incredibly modern compared to Metamorphosis of Ovid, in fact Gregor Salsa turns into a cockroach, a radiation-resistant animal, in Kafka a complaint of man created by the system a hope with the carapace lining is a weak voice of much consciousness inner. In the "resurrection" of Piero della Francesca, the rising Christ is not fluttering like so many Christs but a Christ who among the soldiers stretched and close in the right corner of the fresco seems to know this moment the moment that man no longer needing to be a soldier and transform into the man he later suggested from Nice is powerful with a strong will born from having solved all the problems of the bitterness and petty of religion and the convenience of politicians laziness to ensure that conformism here created continue to serve their cause. That a Christ of good presence can recall Narcissus Ovid's "Metamorphosis" will never be possible in the masses so well-formed for the delight of the few illuminated ones that expire! For charity it is better not to wake up the consciences and continue to spin between us. Turning to the stone to the right of Piero's fresco it is the stone of the scholastic philosophers of Piero's time who were inspired by Greek philosophy, for the scholars that stone is the transformation stone the transformation of Man who does not have to look for ways to to survive by taking on a nuclear war, but rather as a man of the constituted order who finds one because only in the clash against himself and in a crescendo of idiocy Only by throwing out the conventions that gave us the hole in the ozone and wars can be resumed Thanks to the Master Degree Dr Piero della Francesca