PIERO DELLA FRANCESCA: BATTISTA SFORZA, WIFE OF FEDERIGO DA MONTEFELTRO
(Florence: Uffizi, 1300. Panel)
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Now, seeing that I cannot write the life of this man, nor particularize his works, because they have been ruined, I will not grudge the labour of making some record of him, for it seems an apt occasion. In the said works that were thrown to the ground, so I have heard tell, he had made some heads from nature, so beautiful and so well executed that speech alone was wanting to give them life. Of these heads not a few have come to light, because Raffaello da Urbino had them copied in order that he might have the likenesses of the subjects, who were all people of importance; for among them were Niccolò Fortebraccio, Charles VII, King of France, Antonio Colonna, Prince of Salerno, Francesco Carmignuola, Giovanni Vitellesco, Cardinal Bessarione, Francesco Spinola, and Battista da Canneto. All these portraits were given to Giovio by Giulio Romano, disciple and heir of Raffaello da Urbino, and they were placed by Giovio in his museum at Como. Over the door of S. Sepolcro in Milan I have seen a Dead Christ wrought in foreshortening by the hand of the same man, in which, although the whole picture is not more than one braccio in height, there is an effect of infinite length, executed with facility and with judgment. By his hand, also, are some apartments and loggie in the house of the Marchesino Ostanesia in the same city, wherein there are many pictures wrought by him that show mastery and very great power in the foreshortening of the figures. And without the Porta Vercellina, near the Castle, in certain stables now ruined and destroyed, he painted some grooms currying horses, among which there was one so lifelike and so well wrought, that another horse, thinking it a real one, lashed out at it repeatedly with its hooves.

PIERO DELLA FRANCESCA: FEDERIGO DA MONTEFELTRO DUKE OF URBINO
(Florence: Uffizi, 1300. Panel)
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But to return to Piero della Francesca; his work in Rome finished, he returned to the Borgo, where his mother had just died; and on the inner side of the central door of the Pieve he painted two saints in fresco, which are held to be very beautiful. In the Convent of the Friars of S. Augustine he painted the panel of the high-altar, which was a thing much extolled; and he wrought in fresco a Madonna della Misericordia for a company, or rather, as they call it, a confraternity; with a Resurrection of Christ in the Palazzo de' Conservadori, which is held the best of all the works that are in the said city, and the best that he ever made. In company with Domenico da Vinezia, he painted the beginning of a work on the vaulting of the Sacristy of S. Maria at Loreto; but they left it unfinished from fear of plague, and it was afterwards completed by Luca da Cortona,[3] a disciple of Piero, as will be told in the proper place.

Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that family, the vaulting of which had been already begun by Lorenzo di Bicci. In this work there are Stories of the Cross, from that wherein the sons of Adam are burying him and placing under his tongue the seed of the tree from which there came the wood for the said Cross, down to the Exaltation of the Cross itself performed by the Emperor Heraclius, who, walking barefoot and carrying it on his shoulder, is entering with it into Jerusalem. Here there are many beautiful conceptions and attitudes worthy to be extolled; such as, for example, the garments of the women of the Queen of Sheba, executed in a sweet and novel manner; many most lifelike portraits from nature of ancient persons; a row of Corinthian columns, divinely well proportioned; and a peasant who, leaning with his hands on his spade, stands listening to the words of S. Helena—while the three Crosses are being disinterred—with so great attention, that it would not be possible to improve it. Very well wrought, also, is the dead body that is restored to life at the touch of the Cross, together with the joy of S. Helena and the marvelling of the bystanders, who are kneeling in adoration. But above every other consideration, whether of imagination or of art, is his painting of Night, with an angel in foreshortening who is flying with his head downwards, bringing the sign of victory to Constantine, who is sleeping in a pavilion, guarded by a chamberlain and some men-at-arms who are seen dimly through the darkness of the night; and with his own light the angel illuminates the pavilion, the men-at-arms, and all the surroundings. This is done with very great thought, for Piero gives us to know in this darkness how important it is to copy things as they are and to ever take them from the true model; which he did so well that he enabled the moderns to attain, by following him, to that supreme perfection wherein art is seen in our own time. In this same story he represented most successfully in a battle fear, animosity, dexterity, vehemence, and all the other emotions that can be imagined in men who are fighting, and likewise all the incidents of battle, together with an almost incredible carnage, what with the wounded, the fallen, and the dead. In these Piero counterfeited in fresco the glittering of their arms, for which he deserves no less praise than he does for the flight and submersion of Maxentius painted on the other wall, wherein he made a group of horses in foreshortening, so marvellously executed that they can be truly called too beautiful and too excellent for those times. In the same story he made a man, half nude and half clothed in the dress of a Saracen, riding a lean horse, which reveals a very great mastery of anatomy, a science little known in his age. For this work, therefore, he well deserved to be richly rewarded by Luigi Bacci, whom he portrayed there in the scene of the beheading of a King, together with Carlo and others of his brothers and many Aretines who were then distinguished in letters; and to be loved and revered ever afterwards, as he was, in that city, which he had made so illustrious with his works.