Piero della Francesca, famous painter and mathematician, protagonist of the Renaissance, was born in the second decade of the fifteenth century in Sansepolcro (AR).

Around 1452 he took the place of the Florentine Bicci di Lorenzo in the execution of the cycle of frescoes with the Stories of the True Cross in San Francesco in Arezzo, the creation of the Madonna del Parto in Monterchi dates back to the same years: an absolute masterpiece!

The Virgin shows herself to the faithful at the center of a precious tent lined with vaio skins, like an apparition, yet alive and real in her freshness, little more than a teenager, her enchanting face, her slightly almond-shaped eyes and her skin clear and bright.

Her blonde hair is tied in thin braids wrapped around her head and held back by a band of light white fabric that goes around her perfect forehead and crosses with simple elegance behind her ears.

The very pure contours of her face are underlined by the subtle but clear outline sign: it has a confidence and incisiveness comparable only with the highest expressive capacities of Florentine drawing, to which Piero still appears strongly linked here.

This face has a beauty that has no comparison in the history of art: it knows how to combine the absolute naturalness of a simple village girl with something regal, but above all supernatural, perhaps due to the pearly brightness of the complexion which seems to emanate light own.

She is a woman like all the others, pregnant, very young and immersed in waiting for the unborn child who will change her life, but she is also the one chosen by God as an instrument of redemption.

The image is an exaltation of motherhood. Tall and beautiful in her advanced pregnancy, made evident by her three-quarter position: her future mother places her right hand with a protective gesture on her swollen body which heralds the arrival of the Savior and presents him to the adoration of the faithful.

The extraordinary realism of this figure reaches the point that the artist represented the Madonna as a true image of a pregnant woman: as her body swelled, she widened the laces of her dress, showing the whiteness of her shirt which corresponds to the very white line of her neckline. quadrangular.