San Francesco (Arezzo)

San Francesco, the most important church in the city of Arezzo, is a typical example of a simple mendicant order church. An important than architecture, however, is the cycle of frescoes Legend of the True Cross by Piero della Francesca in the 15th century, has made ​​itself known nationwide this church. In 1955 the Church by Pope Pius XII. the title of minor basilica.

Architectural History

During the lifetime of Francis of Assisi, the Franciscan in the " Sun Hill" ( Poggio del Sole ) southwest of the city had erected its first house of worship with the Convention. The present building within the city walls, the da Pistoia back to plans by Fra Giovanni, was begun in 1318 and completed in 1377. Destruction caused by mercenary troops had made ​​it necessary to remove the original building and build new elsewhere. That's why the city of Arezzo had asked the Franciscan brothers in a decision of 1290.

The Campanile is an ingredient of the 17th century.

Architecture

The facade of the simple Gothic brick building was left unfinished due to lack of money. The only structural element is an Oculus of Guglielmo de Marcillat above the portal.

The single-nave hall church has three chapels and an open roof.

The three-aisled crypt is now used for exhibition purposes.

The frescoes of Piero della Francesca

In the main chancel has Piero della Francesca from 1453 until at least 1459, possibly to 1466, created a ten-part cycle of frescoes under the title The Legend of the True Cross. It depicts the story of the cross of Christ according to the Legenda aurea of Jacobus de Voragine that begins with Adam's death and is told to the triumph of Heraclius to Jerusalem in the year 628.

The client was living in Arezzo Bacci family, which stopped the patronage of this chapel. She had initially approached with the desire for a fresco painting on Bicci di Lorenzo, however, the 1452 died. Piero della Francesca, who was initially " forced " jumped in, however, exceeded the expectations of the client and created a work that is one of the major works of the early Italian Renaissance.

Iconography

The selected scenes of the cross legend, spread over the right outer wall, the front wall and the left outer wall of the chapel are, starting in the top right bezel, not shown in the chronological order described below. Instead, the images, as illustrated on the accompanying schematic diagram, based thematically in architectural space to each other to read: In the lower row, the battles in the upper courtly scenes appear. The people of Jerusalem law Adam and Eve left the triumph of Heraclius: In the lunettes is biblical and historically occupied the top end of the cross legend face. In the front wall bezel of the ten-part fresco cycle is completed by the presentation of the prophets Jeremiah and Isaiah.

Style

Piero della Francesca's art is in the tradition of the early Italian Renaissance, whose foundations, among others Fra Angelico, Masaccio, Paolo Uccello and Domenico Veneziano in particular, in whose workshop the young Piero della Francesca worked, have created.

His images are constructed with great clarity, designed restrained mobility ( even in the battle scenes) and with quiet, simple forms in solid, closed contours. Piero's character is to do in the faces of his characters emotions barely visible. The facial expression is almost always quiet and concentrated. The view never hits the viewer. André Malraux called Piero, therefore, the " inventor of indifference ."

Mastering the central perspective belonged to 1450-60, a generation after Brunelleschi's first perspective painted picture panels and Masaccio's Trinity fresco extent groundbreaking in Florence as early as the hedged portfolio of artistic craft. Piero della Francesca strives insofar unlike some Florentine artists of the second generation, not to strong -depth space constructs in which the characters fade into the background, but also returns with the correct application of the laws of perspective to a flächigeren image construction. The special feature of Piero della Francesca's style lies in this harmonious union of plane image stage, lingers in Giotto, and a perspective representation of space ( well understood, for example, in the scene: "Meeting the Queen of Sheba to King Solomon " (1 Kings 10 ) ).

This harmony achieved Piero della Francesca in particular by its light and color treatment. The natural light coming through the stained glass windows, supports this effect. The light propagates in a uniform heat without sharp contrasts and shadows representations over the entire fresco cycle.

In "The Dream of Constantine " Piero della Francesca manages one of the more rare night depictions in the Renaissance, which already admired Giorgio Vasari.

While the use of the church as a military camp in 1799 the frescoes were badly damaged in several places. Moreover, there was static problems and those resulting from earthquakes. Begun in 1992 meticulous restoration was completed in 1997.

Other Facilities

• The cross on the high altar dates back to the first building of the so -called Maestro di San Francesco. This was a contemporary of Cimabue and this is stylistically close. High altar with cross
• A proclamation on the side wall of the left choir chapel is attributed to Luca Signorelli.
• Frescoes by Spinello Aretino (c. 1390/1400 ) and his successor Lorentino d' Arezzo (2nd half of 15th century ) located on the inner facade and in the side chapels, including Scenes from the life of St. Bernardine of Siena and miracles of Saint Anthony of Padua.
• Tomb of the jurist Francesco Rosselli by Michele da Firenze (15th century).