The Legend of the True Cross

This article includes a improve this article by introducing more precise citations. (February 2018) (Learn how and when to remove this template message )

You can help expand this article with text translated from the corresponding article in French. (April 2019) Click [show] for important translation instructions. View a machine-translated version of the French article. Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at [[:fr:La_Légende_de_la_Vraie_Croix]]; see its history for attribution. You should also add the template {{Translated|fr|La_Légende_de_la_Vraie_Croix}} to the talk page. For more guidance, see Wikipedia:Translation.

The Legend of the True Cross
Artist	Piero della Francesca
Year	c. 1452–1466
Type	Fresco
Location	Basilica of San Francesco, Arezzo

The Legend of the True Cross or The History of the True Cross is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.

Its theme, derived from the popular 13th century book on the lives of saints by Jacobus de Voragine, the Golden Legend, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero's advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.

History

Dating of the frescoes is uncertain, but they are believed to date from after 1447, when the

Center, from the top:

• Death of Adam
• Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba
• Battle between Constantine and Maxentius

Left side, from the top:

• Burial of the Wood
• Constantine's Dream

Center, from the top:

• Exaltation of the Cross
• Discovery and Proof of the True Cross
• Battle between Heraclius and Chosroes

Right side, from the top:

• Torture of the Jew
• Annunciation

The main episodes depicted are:

• Death of Adam (390 x 747 cm). According to the legend, the tree from which the cross was made was planted, at the urging of angels, at the burial of Adam by his son, using a branch or a seed from the apple tree of the garden of Eden.
• The Queen of Sheba in Adoration of the Wood and The Meeting of Solomon and the Queen of Sheba (336 x 747 cm). According to the legend, the Queen of Sheba worshiped the beams made from the tree, and informed Solomon that the Saviour would hang from that tree, and thus dismember the realm of the Jews. This caused Solomon to hew it down and bury it, until it was found by the Romans.
• Exaltation of the Cross (390 x 747 cm).
• Constantine's Dream (329 x 190 cm) Emperor
  battle of Milvian Bridge
  , is awakened by an angel who shows him the cross in heaven. With the cross on his shield, he slew the enemy, and later converted to Christianity.
• Discovery and Proof of the True Cross (356 x 747 cm). Helena, Constantine's mother, finds the cross in Jerusalem. It was not easy to get information and "when the queen had called them and demanded them the place where our Lord Jesus Christ had been crucified, they would never tell... her. Then commanded she to burn them all" or cast them into a dry pit for seven days and there torment them with hunger. The Jew is shown in one fresco being pulled from the pit by a rope, whereupon he confessed that Jesus was his lord and where the cross was located. The proof of the cross was that it was used to resurrect a dead man.

• Battle between
  Sassanid Empire
  (early 7th century).

Piero diverged from his source material in a few important respects, including the story of

King Solomon's meeting with the Queen of Sheba in a chronologically inaccurate place and giving greater emphasis to the two battles in which Christianity triumphs over paganism

.

The cycle ends with a depiction of the Annunciation, not strictly part of the Legend of the True Cross but probably included by Piero for its universal meaning.

Bibliography

Wikimedia Commons has media related to Frescos by Piero della Francesca in San Francesco (Arezzo).

• Belton, Robert, and Kersten, Bernd (2010). "Vision and Visions in Piero della Francesca’s Legend of the True Cross, excerpt in Glimpse Journal Blog
• Cole, Bruce (1991). Piero della Francesca: Tradition and Innovation in Renaissance Art, pp. 84-117, HarperCollins Publishers.
• The Elene of Cynewulf. Yale Studies in English. Vol. XXI (1904). Translated into English prose by Lucius Hudson Holt.{{cite book}}: CS1 maint: others (link) In Project Gutenberg.
• Lavin, Marilyn Aronberg (1994). Piero della Francesca: San Francesco, Arezzo, New York: George Braziller.
• Maetzke, Anna Maria, ed. (2000), Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo, with Giovanna Melandri, Stefano Casciu, and Carla Corsi. Skira.
  ISBN 88-8118-829-5
  .
• Maetzke, Anna Maria; Bertelli, Carlo, eds. (2001), Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo, texts by Marilyn Aronberg Lavin et al. Skira.
  ISBN 978-8884910233
  .
• Turner, Jane Shoaf, ed. (2002). The Dictionary of Art, Grove

External links

• All images in series and interactive model Institute for Advanced Studies web site.
• The Legend of the True Cross fresco cycle on YouTube (in Italian): here and here.
• Legend of the True Cross fresco cycle at art-threads.