Practice: Piero della Francesca, Baptism of Christ (quiz) This is the currently selected item. Its dating to Piero della Francesca's early career is evidenced by the strong relationship with the "light painting" of his master, Domenico Veneziano. This is exemplified by the river, which seems to stop before Christ and John’s feet, recalling the miracle of Joshua halting the River Jordan. Balancing the figure of John to the right, but separated from Jesus by the tree's trunk, are three angels on the left who are wearing different clothing. The Baptism of Christ portrays John baptising Christ, his head crowned by a dove that represents the Holy Spirit. However the painting is much more than just a technically impressive piece. The Baptism of Christ is a good introduction to Piero della Francesca's style. Interpreted positively and experientially rather than just as a conversion ceremony, baptism is a rite of passage that could help a person to integrate all of these things. The composition is centred on the figure of Christ being baptised in the River Jordan by the figure of John the Baptist on the right. The lighting brings out delicate pastel colours, with the pale shadows surrounding the figures, enhancing their three-dimensionality. It is housed in the National Gallery, London. I think Piero and Da Vinci use mathematics very effectively as a tool for creating striking effects of balance that contribute to the symbolic power of the art. The Camaldolese monk and theologian, Saint Ambrose Traversari (+1439), who had been Prior General of the Camaladolese congregation, had been a strong supporter of the union. It portrays Christ being baptised by John, his head surmounted by a dove representing the Holy Spirit. The only movement in the picture is the water being poured unto Christ’s head by John the Baptist. Alternatively, the three angels could also represent the three aspects of the Holy Trinity. It is this tree that for me, more than anything else in this picture, that helps put Jesus’ baptism in a genuinely spiritual setting based on the Middle Way. This is one of the best-known paintings of the Italian Renaissance, a classic depiction of a Biblical scene: that of John the Baptist baptising Jesus in the Jordan. Piero della Francesca’s The Baptism of Christ initially presents a fascinating paradox to the modern viewer. Join the Middle Way Network for stimulus and regionalised discussion over Zoom, creating the conditions for local groups. The pale colours and blue would have blended with the blue in the background of those panels. Sansepolcro was the town the birthplace of Piero della Francesca. Notice the town itself in the far distance. Follow us for news updates and inspiration. Christ, the bird, the bowl and John's hand form an axis that divides the painting into two equal parts. Piero was like Da Vinci painting as a way of truth rather than for art. The technique involved the use of a permanent painting medium which would dry fast. Although the exact date of the painting is not known, it is thought to be of his early career, as it exhibits the “light painting” technique of Francesca’s teacher, Domenico Veneziano. His presence seems to emphasise that Jesus’ baptism was not unique: that there were many other people going through the same process. Despite its apparent simplicity, it is a highly complex work in composition and interpretation. The Holy Spirit descends like a dove, foreshortened, so that you might think you are seeing a cloud. Hence the figures form the focus and are painted in a sculptural way that expresses their physical humanity. Whether or not they believed that mathematics tells us ultimate truths about the universe, though, it seems clear to me that the meaning and interpretation of mathematics depend on us, our bodies and brain structure, just like any other meaning.
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