Piero della Francesca, like many other artists of the Renaissance, sometimes used linear perspective despite the fact that it would be impossible to view his work from the correct station point when on display … For him, perspective was not merely a technical convention for representing a physically correct world. It was just one of many devices that could be adapted for use for other, non-optical ends. Our hypothesis is that the perspective in Piero’s fresco cycle depicting The Legend of the True Cross in the cappella maggiore of San Francesco in Arezzo is less about coherent space than about drawing attention to important narrative details … by which the artist hoped to instill in the viewer a sense of spiritual rapture.
Excerpt from Drs. Robert Belton and Bernd Kersten’s “Vision and Visions in Pierro della Francesca’s Legend of the True Cross.” Issue 6, Visions. Read the full article in GLIMPSE’S Visions issue at www.glimpsejournal.com.