See also:

• PIERO (1443—1496)

PIERO See also:

• FRANCESCHI, JEAN BAPTISTE, BARON (1766-1813)
• PIERO FRANCESCHI (or PIETRO)

FRANCESCHI (or PIETRO)  DE' ' (c . 1.416-1492), See also:

• ITALIAN

Italian painter of the Umbrian school . This See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master is generally named See also:

• PIERO (1443—1496)

Piero della Francesca (See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter, son of Frances), the tradition being that his See also:

• FATHER

father, a woollen-See also:

• DRAPER
• DRAPER, JOHN WILLIAM (1811-1882)

draper named Benedetto, had died before his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth . This is not correct, for, the See also:

• MOTHER

mother's name was See also:

• ROMANA

Romana, and the father continued living during many years of Piero's career . The painter is also named Piero See also:

• BORGHESE

Borghese, from his birthplace, Borgo See also:

• SAN

San Sepolcro, in See also:

• UMBRIA
• UMBRIA ('Opj3pucrl)

Umbria . The true See also:

• FAMILY

family name was, as above stated, See also:

• FRANCESCHI, JEAN BAPTISTE, BARON (1766-1813)
• FRANCESCHI, PIERO (or PIETRO)

Franceschi, end the family still exists under the name of See also:

• MARTINI, GIOVANNI BATTISTA (1706–1784)
• MARTINI, SIMONE (1283-1344)

Martini-Franceschi . Piero first received a scientific See also:

• EDUCATION

education, and became an See also:

• ADEPT (if used as a substantive pronounced adept, if as an adjective adept; from Lat. adeptus, one who has Attained)

adept in See also:

• MATHEMATICS (Gr. /saBnµar1Kil, Sc. vOcvn or E7rlQTt'µn; from p iN.La, "learning" or "science ")

mathematics and See also:

• GEOMETRY

geometry . This See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent of mind and course of study influenced to a large extent his development as a painter . He had more See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science than either See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Uccello or, See also:

• MANTEGNA, ANDREA (1431–1506)

Mantegna, both of them his contemporaries, the former older and the latter younger . Skilful in linear See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, he fixed rectangular planes in perfect See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order and measured them, and thus got his figures in true proportional height . He preceded and excelled Domenico See also:

• GHIRLANDAJO, DOMENICO (1449-1494)
• GHIRLANDAJO, RIDOLFO (1483-1560)

Ghirlandajo in projecting shadows, and rendered with considerable truth See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere, the See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

• COLOURS, MILITARY

colours, and the See also:

• RELIEF

relief of See also:

• OBJECTS

objects . He was naturally therefore excellent in architectural See also:

• PAINTING

painting, and, in point of technique, he advanced the practice of oil-colouring in See also:

• ITALY
• ITALY (Italia)

Italy .

The earliest trace that we find of Piero as a painter is in 1439, when he was an apprentice of Domenico Veneziano, and assisted him in painting the See also:

• CHAPEL

chapel of S . Egidio, in S . Maria Novella of See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . Towards 1450 he is said to have been with the same artist in See also:

• LORETO

Loreto; nothing of his, however, can now be identified in that locality . In 1451 he was by himself, painting in See also:

• RIMINI

Rimini, where a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco still remains . See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

Prior to this he had executed some extensive frescoes in the Vatican; but these were destroyed when See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael undertook on the same walls the " Liberation of St Peter " and other paintings . His most extensive extant See also:

• SERIES (a Latin word from serere, to join)

series of frescoes is in the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of S . See also:

• FRANCESCO
• FRANCESCO, 210

Francesco in See also:

• AREZZO (anc. Arretium)

Arezzo,—the See also:

• FRANCESCHINI, BALDASSARE (1611-1689)

FRANCESCHINI " See also:

• HISTORY

History of the See also:

• CROSS

Cross," beginning with legendary subjects of the See also:

• DEATH

death and See also:

• BURIAL

burial of See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam, and going on to the entry of See also:

• HERACLIUS ('HpaeXaos) (c. 575-642)

Heraclius into See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem after the overthrow of See also:

• CHOSROES

Chosroes . This series is, in relation to its See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, remarkable for effect, See also:

• MOVEMENT

movement, and mastery of the nude . The subject of the " See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision of See also:

• CONSTANTINE

Constantine " is particularly vigorous in See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro; and a preparatory See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design of the same See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition was so highly effective that it used to be ascribed to See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione, and might even (according to one authority) have passed for the handiwork of See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio or of See also:

• REMBRANDT (1606-1669)

Rembrandt . A noted fresco in Borgo San Sepolcro, the " Resurrection," may be later than this series; it is preserved in the Palazzo de' Conservatori . An important painting of the " Flagellation of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," in the See also:

• CATHEDRAL

cathedral of See also:

• URBINO (anc. Urvinum Mataurense)

Urbino, is later still, probably towards 1470 .

Piero appears to have been much in his native See also:

• TOWN

town of Borgo San Sepolcro from about 1445, and more especially after 1454, when he finished the series in Arezzo . He See also:

• GREW, NEHEMIAH (1641-1712)

grew See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich there, and there he died, and in See also:

• OCTOBER

October 1492 was buried . Two statements made by See also:

• VASARI, GIORGIO (1511-1571)

Vasari regarding "Piero See also:

• DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

delta Francesca'. are open to much controversy . He says that Piero became See also:

• BLIND, MATHILDE (1841—1896)

blind at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of sixty, which cannot be true, as he continued painting some years later; but See also:

• SCEPTICISM (o-Kesrroµai, I consider, reflect, hesitate, doubt)

scepticism need perhaps hardly go to the extent of inferring that he was never blind at all . Vasari also says that Fra Luca Pacioli, a See also:

• DISCIPLE

disciple of Piero in scientific matters, defrauded his memory by appropriating his researches without See also:

• ACKNOWLEDGMENT (from the old acknow, a compound of on- and know, to know by the senses, which passed through the forms oknow, aknow and acknow; acknowledge is formed on analogy of " knowledge ")

acknowledgment . This is hard upon the See also:

• FRIAR (from the Lat. (rater, through the Fr. frere)

friar, who constantly shows a See also:

• GREAT

great reverence for his master in the sciences . One of Pacioli's books was published in 1509, and speaks of Piero as still living . Hence it has been propounded that Piero lived to the patriarchal age of ninety-four or upwards; but, as it is now stated that he was buried in 1492, we must infer that there is some "See also:

• MISTAKE (i.e. take amiss)

mistake in relation to Pacioli's remark—perhaps the date of. See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing was several years earlier than that of publication: Piero was known to have See also:

• LEFT

left a See also:

• MANUSCRIPT

manuscript of his own on perspective; this remained undiscovered for a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, but eventually was found by E . Harzen in the Ambrosian library of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, ascribed to some supposititious " Pietro, Pittore di See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges." The See also:

• TREATISE

treatise shows a knowledge of perspective as dependent on the point of distance . In the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• LONDON

London, are three paintings attributed to Piero de' Franceschi; Another See also:

• WORK

work, a See also:

• PROFILE

profile of Isotta da Rimini, may safely be rejected . The " See also:

• BAPTISM

Baptism of Christ," which used to be the See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece of the Priory of the Baptist in Borgo San Sepolcro, is an important example; and still more so the " Nativity," with the Virgin kneeling, and five angels singing to musical See also:

• INSTRUMENTS

instruments . This is a very interesting and characteristic specimen, and has indeed been praised somewhat beyond its deservings on aesthetic grounds .

Piero's earlier See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style was energetic but unrefined, and to the last he lacked selectness of See also:

• FORM (Lat. forma)

form and feature . The types of his visages are See also:

• PECULIAR

peculiar, and the costumes (as especially in the Arezzo series) singular . He used to work assiduously from See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay See also:

• MODELS

models swathed in real drapery . Luca See also:

• SIGNORELLI, LUCA (c. 1442-c. 1524)

Signorelli was his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, and probably to some extent See also:

• PERUGINO, PIETRO (1446-1524)

Perugino; and his own See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, furthered by that of Signorelli, was potent over all Italy . Belonging as he does to the Umbrian school, he See also:

• UNITED

united with that style something of the Sienese and more of the Florentine mode . Besides Vasari and See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe & Cavalcaselle, the work by W . G, See also:

• WATERS, TERRITORIAL

Waters, Piero See also:

• DELIA

delia Francesca (1899) should be consulted . (W . M . R.) .