Anti-Semitism in Sansepolcro through some works of art

Anti-Semitism in Sansepolcro through some works of art• I wrote this book (yes it is a book also written on a blog) because I was struck by how Piero Della Francesca was treated metaphysically as if to make him a vector of Catholic or religious spirituality in general that necessarily had to like a boy carrying an alleged scientific proof of religion. Personal note or parallel between Kafka and Piero della Francesca Perhaps if it were not for the Koreans and the media support for the fear they cause, with the threat of a nuclear war I would not have made a parallel between the "Resurrection" of Piero della Francesca and the "Metamorphosis" of Kafka I had not even thought about it after the sinking of the Kursk in the Baltic, and perhaps because a sinking submarine certainly does not rise. The Kafka Metamorphosis is incredibly modern compared to Ovid's Metamorphosis, in fact Gregor Salsa turns into a cockroach, an animal resistant to radiation, in Kafka a denunciation of man created by the system a hope with the coating of carapace is a weak voice of conscience very 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 themselves and with the neighbor in the right corner of the fresco seems to dream of this moment the moment that is that man no longer has need to be a soldier and turn into the man who hypothesized later by Nice is powerful with a strong will born from having solved all the problems of the smallness and meanness of religion and the convenience of the laziness of politicians to ensure that conformism ends here created continue to serve their cause. That a Christ of beautiful presence poses to recall Narcissus Of Ovid's "Metamorphoses" will never be possible in the masses so conformed, certainly even for the delight of the few enlightened who expires! For goodness sake it is better not to wake up consciences and keep on turning among us. Returning to the stone to the right of Piero's fresco (we also find it in the form of an egg in the Berra altarpiece, a sign that Bacon and St. Thomas Aquinas had read) it is the stone of the scholastics the philosophers of the time of Piero who inspired by Greek philosophy, for scholastics that stone is the stone of transformation the transformation of Man who does not have to look for ways to survive by taking for granted a nuclear war but rather a man of the established order who finds his own because only in the clash against himself and in a crescendo of idiocy Only by throwing away the conventions that have given us the hole in the ozone layer and wars can we start again. So the composition should not be read through the "hitbodedu't of the cabalistic esoteric tradition" So when he turns his face towards God, he will be blessed and turn his face towards his and both will attack Thank you for the master lesson Dr. Piero della Francesca.The pivot of the composition consists of the figure of Christ dividing the landscape into two parts, the one on the right luxuriant and the one on the left dying, these symbols recall '' the good and bad government '' frescoes by Lorenzetti in Siena which influenced Tuscany painting so much. Piero sits dozing at the foot of the sarcophagus and the pole of the banner with the cross of Guelph keeps him in direct contact with the divinity, as if it inspired the political Piero who had been elected councilor of the people in 1442 ('' Ercole Agnoletti ' 'characters of Sansepolcro''BVE0116112) and sat in the room adjoining the fresco. It was normal for him to take advantage of the image, perhaps meditating in those years on a political career. As a majority in the community and with his father sitting on the city council he had all the rights to a seat. The advice that in the brief passage of Sansepolcro in the territory of the church was abolished, was granted by Florence when Sansepolcro definitively entered its territory gathered in the room behind the fresco of the resurrection. While the soldier's spear points with the tip the direction of '' Monte Fumaiolo '' the mountain where the Tiber river was born (I checked with a compass), the soldier leaning with his elbow near the stone in the right corner from who looks at the painting seems to indicate the stone, expression of the philosophy of the medieval scholastics who spoke of the intentional and therefore mental nonexistence of the object and in the content of the direction towards it. Today after Bertrand Russell one cannot ignore his teachings which does not escape a character from the transition from the Middle Ages to the Renaissance who was Piero della Francesca. The figure of Christ seems to reflect the full force of reason in Piero's possession of the material in the exaltation of the rise of Christ, Piero makes him become a secondary character compared to his skiing