Editing Paolo Uccello (section)

==Later life==
By 1453, Uccello was married to Tommasa Malifici. This is known because, in that year Donato (named after Donatello), was born. Three years later, in 1456, his wife gave birth to their daughter, Antonia.<ref name="Lloyd-OAO"/> '''Antonia Uccello''' (1456–1491)<ref>Echols, Anne; Marty Williams. ''An annotated index of medieval women''. Markus Wiener Publishers, 1992, p. 61. {{ISBN|0-910129-27-4}}</ref> was a [[Carmelite]] nun, whom [[Giorgio Vasari]] called "a daughter who knew how to draw." She was even noted as a "pittoressa", a painter, on her death certificate.  Her style and her skill remains a mystery as none of her work is extant.

From 1465 to 1469, Uccello was in [[Urbino]] with his son Donato working for the Confraternity of Corpus Domini, a brotherhood of laymen. During this time, he painted the [[predella]] for their new altarpiece with the ''Miracle of the Profaned Host''. (The main panel representing the "Communion of the Apostles" was commissioned to [[Joos van Wassenhove|Justus van Ghent]] and finished in 1474). Uccello's predella is composed of six meticulous, naturalistic scenes related to the antisemitic myth of [[host desecration]], which was based upon an event that supposedly occurred in Paris in 1290. It has been suggested that the subject of the main panel, on which Duke [[Frederick of Montefeltro]] of Urbino appears in the background conversing with an Asian, is related to the antisemitic intention of the predella. However, Federico did allow a small Jewish community to live in Urbino and not all of these scenes are unanimously attributed to Paolo Uccello.<ref>[https://web.archive.org/web/20081009120717/http://findarticles.com/p/articles/mi_m0422/is_4_85/ai_111738112/pg_1 Katz, Dana E., ''The contours of tolerance: Jews and the Corpus Domini Altarpiece in Urbino'']  The Art Bulletin:85 (December 2003)</ref>[[Image:Paolo Uccello, Predella del miracolo dell'Ostia profanata, 02 - Dall'Ostia posta sul fuoco sgorga sangue e accorrono gli armati, 1465-68.jpg|thumb|350px|A scene in Paolo Uccello's Corpus Domini [[predella]] (c. 1465–1468), set in a Jewish pawnbroker's home. Blood in the background emanates from [[Host (Holy Communion)|the Host]], which the moneylender has attempted to cook, and seeps under the door. This story first entered the Italian literary tradition via [[Giovanni Villani]] (c. 1280&ndash;1348) and his ''[[Nuova Cronica]]''.]]

In his Florentine tax return of August 1469, Uccello declared, "I find myself old and ailing, my wife is ill, and I can no longer work." In the last years of his life, Paolo was a lonesome and forgotten man who was afraid of hardship in life. His last known work is ''[[The Hunt in the Forest|The Hunt]]'', c. 1470. He made his testament on 11 November 1475 and died shortly afterwards on 10 December 1475 at the hospital of Florence, at the age of 78. He was buried in his father's tomb in the Florentine church of [[Santo Spirito, Florence|Santo Spirito]].

With his precise and analytical mind, Paolo Uccello tried to apply a scientific method to depict objects in three-dimensional space. In particular, some of his studies of the perspective foreshortening of the [[torus]] are preserved, and one standard display of drawing skill was his depiction of the [[mazzocchio]].<ref>Emmer, Michele. "Art and Mathematics: The Platonic Solids." Leonardo 15(4): 277-282 (Autumn, 1982).</ref> In the words of [[Giulio Carlo Argan|G. C. Argan]]: "Paolo's rigour is similar to the rigour of [[Cubism|Cubists]] in the early 20th century, whose images were more ''true'' when they were less ''true to life''. Paolo constructs space through perspective, and historic event through the structure of space; if the resulting image is unnatural and unrealistic, so much the worse for nature and history."<ref>{{cite book|last=Argan|first=Giulio Carlo|title=Storia dell'arte italiana|year=1968|publisher=[[Sansoni (publisher)|Sansoni]]|volume=2|page=186|url=https://books.google.com/books?id=XIo0AQAAIAAJ&q=%22paolo+costruisce+lo+spazio%22|isbn=9788838319136|language=it}}</ref> The perspective in his paintings has influenced many famous painters, such as [[Piero della Francesca]], [[Albrecht Dürer]] and [[Leonardo da Vinci]], to name a few.