Salvation in Perspective: A New Interpretation of Piero Della Francesca’s Flagellation of Christ
An absolute masterpiece of linear perspective as well as a true icon of the Renaissance, Piero della Francesca’s Flagellation of Christ (conserved at the Galleria Nazionale delle Marche in Urbino) is one of the greatest enigmas of the Italian Quattrocento. Uncertainty surrounds not only the date and the original intended location of the painting, but also the subject matter itself. Despite long-running disputes about the overall significance of the picture, and in particular about the identification of the three figures in the right foreground, the Flagellation remains an unsolved puzzle. Continuing in a rich and varied hermeneutic tradition, this article proposes a new interpretation of this famous painting, diverging both from a political reading (based on the supposed links with the Byzantine Empire) and from the other traditional solution which argues for the ordinary nature of Piero’s iconography. The analysis of the geometrical pictorial space and its potential theological significance leads to a reconsideration of the painting as a visual meditation on temporality inspired by Saint Augustine, as well as a singular spiritual exercise.