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The Spiritual Space of Piero della Francesca’s Virgin and Child Enthroned with Four Angels: A New Understanding of Its Mysterious Perspective

THE RECENT EXHIBITION of Piero della Francesca’s Virgin and Child Enthroned with Four Angels (fig. 1) in New York and Milan and the accompanying acclaim it has garnered prompted us to reexamine both the structural composition and the subjective meaning of the picture, now that it has returned to its regular home in the refurbished Clark Art Institute in Williamstown, Massachusetts. In reviewing the material evidence and focusing on heretofore neglected details in the actual fabric of Piero’s painting, we were able to develop a new hypothesis, especially regarding the artist’s clever manipulations of perspective. In