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Those who have once seen his fresco of the "Resurrection" in the hall of the Compagnia della Misericordia at Borgo San Sepolcro, will never forget the deep impression of solitude and aloofness from all earthly things produced by it.
There Giorgio was settled in the house of M. Niccolò Vespucci, Knight of Rhodes, who lived on the abutment of the Ponte Vecchio, above the Church of the Sepolcro, and was placed with Michelagnolo Buonarroti; and this circumstance came to the knowledge of Francesco, who was then living in the Chiasso di Messer Bivigliano, where his father rented a great house that faced on the Vacchereccia, employing many workmen.
But Niccolo, considering the sterility of these places, told him, "his horses could not eat stones," and went to the Borgo San Sepolcro, where he was amicably received, but found that the people of Citta di Castello, who were friendly to the Florentines, could not be induced to yield to his overtures.
Piero della Francesca was born about 1416 at the little town of Borgo San Sepolcro, just within the borders of Tuscany towards Arezzo. He was a great student of perspective, a friend of mathematicians, of Fra Luca Paccioli, for instance, who later became the friend of Leonardo da Vinci. His work has force, and is always full of the significance of life.
On his way back to Ravenna by land, for the Venetians added to their shame by refusing him the sea passage, he caught a fever in the marshes and returned to Ravenna only to die: the mightiest of all those emperors and kings who lie in that "generale sepolcro di santissimi corpi." That was in 1321; and with the death of Dante our interest in Ravenna again becomes cold.
For the sake not merely of authority, but the distinction of historical truth, we put our idea into realistic form in taking for the theme of our musical poem the motive with which we have heard the gondoliers of Venice sing over the waters the lines of Tasso, and utter them three centuries after the poet: "'Canto l'armi pietose e'l Capitano Che'l gran Sepolcro liberò di Christo!
Reflections on the object of war and the use of victory Niccolo reinforces his army The duke of Milan endeavors to recover the services of Count Francesco Sforza Suspicions of the Venetians They acquire Ravenna The Florentines purchase the Borgo San Sepolcro of the pope Piccinino makes an excursion during the winter The count besieged in his camp before Martinengo The insolence of Niccolo Piccinino The duke in revenge makes peace with the league Sforza assisted by the Florentines.
Bernardino del Lupino, of whom some mention was made not very far back, painted in Milan, near S. Sepolcro, the house of Signor Gian Francesco Rabbia that is, the façade, loggie, halls, and apartments depicting there many of the Metamorphoses of Ovid and other fables, with good and beautiful figures, executed with much delicacy.
Whereupon Lappoli, hearing that Rosso, having also fled from Rome, was at Borgo a San Sepolcro, and was there executing an altar-piece for the Company of S. Croce, went to visit him; and after showing him many courtesies and causing some things to be brought for him from Arezzo, of which he knew him to stand in need, since he had lost everything in the sack of Rome, he obtained for himself from Rosso a very beautiful design of the above-mentioned altar-piece that he had to paint for Fra Guasparri.
And he came from Borgo San Sepolcro far cry from windy Chioggia a place among the brown Tuscan hills, just where they melt into Umbria; and he was by trade a minstrel, and going to Ferrara. Of so much, with many bows, he informed the two girls, being questioned by Olimpia. But he looked at Bellaroba as he spoke, and she listened the harder and looked the longer of the two.
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