PA system

I had one reason for going to Arezzo: Piero della Francesca. In my last year of high school, I took Art History, and two of the major works we studied were the fresco cycles of the Brancacci Chapel in Florence, painted mostly by Masaccio, and the Legend of the True Cross, by Piero della Francesca. I committed these to memory for my exams as Marlon Brando - Masaccio Brancacci - and Public Address system - Piero Arezzo. Some may say those are not the cleverest mnemonics ever devised, but who's the one who still remembers this literally half my lifetime ago (jeez)?

Even as a 17 year old in little old New Zealand studying these art works on dodgy photocopies, I probably thought I'd get to Florence one day (and I did, 9 years later), but I perhaps I didn't have so much faith I'd end up in Arezzo. I probably didn't even know where it was. So being able to include it on my honeymoon itinerary was pretty special.

I made us wake up early in Siena so we could drive to Arezzo and be there shortly after the Basilica of St Francis, which houses the frescoes, opened. I even made sure we bought our timed ticket in advance, because on the internet it says you're only allowed maximum 25 people for half an hour at a time in the chapel and I was basically in a blind panic about missing out on fresco-gazing time. (Actually, there weren't many people there, so they let us in early and we stayed about 45 minutes total.) Jules was under instructions to calm me down, and his services were required, telling me to actually stop and look at the art instead of just taking a million photos. But I also took a million photos.

That famous Tuscan early morning mist on the way to Arezzo. In reality, someone was burning rubbish or something, thus producing this picturesque effect. But don't tell anyone.

Piero della Francesca was active relatively early in the Renaissance. He began work on the Legend of the True Cross in 1452, the year Leonardo da Vinci was born. Thus, although his works are now faded and perhaps less striking than some later works, they represent a great deal of innovation in their use of space and perspective, and they have a sort of gracious, contemplative calm to them which is very attractive.

The Legend of the True Cross tells the whole story of the cross Jesus was crucified, from its origins, growing from a seed of the tree in the Garden of Eden, to its adoration by the Queen of Sheba, to the time of Constantine, who dreamed of the sign of the cross and went on to win a victory in its name, followed by its rediscovery by his mother Helena. Oddly enough, it doesn't include a crucifixion scene, which one would have thought was a pretty key part of the story, but it throws in a bonus Annunciation.

The chapel is pretty small!

The annunciation. The trompe l'oeil bar passing through a loop at the top right (somehow?) represents Mary's unbroken virginity

Details from the Battle of Heraclius and Chosroes, one of the miracles associated with the cross

My favourite of the frescoes - the Dream of Constantine. The soldier's watchful expression and the soft glow of the tent draw you in from the other side of the room

A less savoury part of the legend, in which a Jew who was the only person who knew the whereabouts of the cross is tortured to reveal its location

The Queen of Sheba worships the beam which she recognises as the True Cross

The three crosses - that of Jesus and the two thieves - were found together. The True Cross is recognised by performing a miracle of resurrecting a dead man

Elsewhere in the Basilica, we found a mural of the Miracle of the Mule. The story goes that a heretic told St Anthony of Padua that he would only believe in Christ's presence in the Eucharist if his mule would bow down to it. Apparently, mules need some persuasion (stubborn as what again?), so he starved the mule for three days and then, in classic sitcom style, St Anthony and the mule's owner stood on either side, one beckoning him with tasty fodder, the other with the Eucharist. Much like Santa's Little Helper, the mule chooses wisely, and bows down to the Host, as captured in this charming (non-Piero) fresco:

We came across this street art version of Piero's portraits of the Duke and Duchess of Urbino (originals in the Uffizi).