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IL CRISTO RISORTO DI PIERO
Rare and outdated pictures
Kitâb al-Diryâq
Thériaque de Paris
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Folder with the 15 plates selection
and commentarium Kitâb al-Diryâq
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Il Cristo risorto di Piero. Rare and outdated pictures

THE RESURRECTION BY PIERO DELLA FRANCESCA

This publication provides historical and artistic documentation of the transformation of one of the best known masterpieces in the history of modern art: the fresco of the Resurrection by Piero della Francesca conserved in the Municipal Picture Gallery in Sansepolcro. It is a study produced for art lovers, art historians and enthusiasts of Piero della Francesca and the culture of the Renaissance. At the end of the nineteenth century far-reaching restoration work was performed on the work with touching-up applied to at least nine details.
These are widely documented with photographs and drawings in the publication. A high-quality colour collotype of the Resurrection made by Alinari is the centrepiece of the publication. This advanced, manual, photomechanical printing technique provides a "collector's" reproduction that is highly faithful to the original. An extensive bibliography on the fresco testifies to the work's importance.

Made in a limited edition of 999 numbered copies (in Arab numerals), the reproduction is the fruit of a study by the Centro Studi di Aboca Museum combined with the historical contribution of Roberto Manescalchi and the sanguine drawings by Stefano Camaiti made exclusively for this folder.

Technical description:
• dimensions 33 x 48 cm
• 9 plates printed on Magnani PESCIA 2010 paper (300 gr), using a stochastic screen
• plates protected by tissue paper

Collotyping is a photomechanical process that gives colour images without the usual screen used in industrial printing. A glass plate (the matrix) is covered with a layer of chromate gelatine. After several hours of baking in a special oven, the plate is removed and the negative of the image positioned on it. The plate is then inked by hand and placed in the printing machine in contact with the paper. Each sheet is created by several tanning passages of the colour regulated by the printer. Technically a collotype permits printing only in limited runs of between 300 and 500 sheets for each matrix. After this number has been reached the layer of gelatine deteriorates and is unable to provide a high quality print. Each collotype is numbered with a dry-press watermark and is therefore a unique and unrepeatable copy in terms of its quality and refinement.

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