PIERO DELLA FRANCESCA
LIFE OF PIERO DELLA FRANCESCA
[PIERO BORGHESE]
PAINTER OF BORGO A SAN SEPOLCRO
Truly unhappy are those who, labouring at their studies in order to benefit others and to make their own name famous, are hindered by infirmity and sometimes by death from carrying to perfection the works that they have begun. And it happens very often that, leaving them all but finished or in a fair way to completion, they are falsely claimed by the presumption of those who seek to conceal their asses' skin under the honourable spoils of the lion. And although time, who is called the father of truth, sooner or later makes manifest the real state of things, it is none the less true that for a certain space of time the true craftsman is robbed of the honour that is due to his labours; as happened to Piero della Francesca of Borgo a San Sepolcro. He, having been held a rare master of the difficulties of drawing regular bodies, as well as of arithmetic and geometry, was yet not able—being overtaken in his old age by the infirmity of blindness, and finally by the close of his life—to bring to light his noble labours and the many books written by him, which are still preserved in the Borgo, his native place. The very man who should have striven with all his might to increase the glory and fame of Piero, from whom he had learnt all that he knew, was impious and malignant enough to seek to blot out the name of his teacher, and to usurp for himself the honour that was due to the other, publishing under his own name, Fra Luca dal Borgo, all the labours of that good old man, who, besides the sciences named above, was excellent in painting.
Piero was born in Borgo a San Sepolcro, which is now a city, although it was not one then; and he was called Della Francesca after the name of his mother, because she had been left pregnant with him at the death of her husband, his father, and because it was she who had brought him up and assisted him to attain to the rank that his good-fortune held out to him. Piero applied himself in his youth to mathematics, and although it was settled when he was fifteen years of age that he was to be a painter, he never abandoned this study; nay, he made marvellous progress therein, as well as in painting. He was employed by Guidobaldo Feltro the elder, Duke of Urbino, for whom he made many very beautiful pictures with little figures, which have been for the most part ruined on the many occasions when that state has been harassed by wars. Nevertheless, there were preserved there some of his writings on geometry and perspective, in which sciences he was not inferior to any man of his own time, or perchance even to any man of any other time; as is demonstrated by all his works, which are full of perspectives, and particularly by a vase drawn in squares and sides, in such a manner that the base and the mouth can be seen from the front, from behind, and from the sides; which is certainly a marvellous thing, for he drew the smallest details therein with great subtlety, and foreshortened the curves of all the circles with much grace. Having thus acquired credit and fame at that Court, he resolved to make himself known in other places; wherefore he went to Pesaro and Ancona, whence, in the very thick of his work, he was summoned by Duke Borso to Ferrara, where he painted many apartments in his palace, which were afterwards destroyed by Duke Ercole the elder in the renovation of the palace, insomuch that there is nothing by the hand of Piero left in that city, save a chapel wrought in fresco in S. Agostino; and even that has been injured by damp. Afterwards, being summoned to Rome, he painted two scenes for Pope Nicholas V in the upper rooms of his palace, in competition with Bramante da Milano; but these also were thrown to the ground by Pope Julius II—to the end that Raffaello da Urbino might paint there the Imprisonment of S. Peter and the Miracle of the Corporale of Bolsena—together with certain others that had been painted by Bramantino, an excellent painter in his day.