Piero della Francesca's Resurrection shows that the Renaissance was in full swing by 1460. In this work the viewer has no trouble perceiving depth, due in part to Piero's mastery of perspective. Piero is known today as an Italian painter, but his interests in his own time extended to mathematics—especially geometry. His concern with geometry can be seen in the triangular arrangement of the sleeping soldiers and Christ, and also in a book Piero wrote around 1480 on how to achieve perspective using line and color.
The figure of Jesus in Resurrection appears unduly muscular and flashy. He pauses to stare straight ahead, his leg propped, almost arrogantly, on his defeated sarcophagus, his arm holding in triumph the banner of the Pope. This contrasts with my impression of a more humble Jesus, one without concern for ostentatious displays. Aldous Huxley, writer of Brave New World, compared Christ's figure in Resurrection to that of a Greek athlete and noted his "physical and intellectual power." I'm not sure why Piero depicted Christ as such, as Jesus's power seemed to be neither physical nor intellectual.