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Shortly after the Madonna of Senigallia, Piero set to work on the most grandiose of his paintings dating from this period. This was the huge altarpiece showing the Madonna and Child with Saints, today in the Pinacoteca di Brera in Milan. Probably painted for the church of the Osservanti di San Donato in Urbino, this panel was transferred, after the death of Federico in 1482, to the church of San Bernardino, the modern mausoleum built for the deceased Duke. Federico da Montefeltro, shown kneeling at the foot of the Madonna's throne, is portrayed in his warrior's armour, but without the insignia awarded to him by Pope Sixtus IV in 1475.
The absence of these emblems, which Piero would certainly have included in an official portrait like this one, leads us to date the splendid Brera altarpiece, previously believed to be Piero's last work, at around 1472-74. The complex and majestic architectural background, against which the 'sacra conversazione' takes place, is clearly derived from designs very similar to the ones followed by Alberti in his construction of the church of Sant'Andrea in Mantua. Yet, at the same time, the architecture anticipates certain 'classical' elements which will be used by the young Bramante - another extraordinary artist from Urbino. In this painting, too, the artist's mastery of proportions is remarkable; it is almost symbolized by the large ostrich egg hanging from the shell in the apse. The shape of this symbolic element is echoed by the near perfect oval of the Madonna's head, placed in the absolute centre of the composition. In this painting Piero places his vanishing point at an unusually high level, more or less at the same height as the figures' hands, with the result that his sacred characters, placed in a semicircle, appear less monumental.
Piero's extraordinary invention of an architectural apse echoed below by another apse, consisting in the figures of the saints gathered around the Madonna, was taken up time and again by artists working at the end of the 15th century and at the beginning of the 16th, particularly in Venice, starting with the almost contemporary paintings of Antonello da Messina and Giovanni Bellini. This organized composition, typical of Piero's work, contained within a unity of space and lighting, seems however to have a new feel about it, as though the artist were taking part in the new currents being developed in Italian art after 1470. The new trends are dictated primarily by the great popularity that Netherlandish painting was enjoying, particularly in Urbino. The most descriptive and 'miniaturistic' aspects of Netherlandish painting are echoed in the Brera altarpiece in the Duke's shining armour, for example, and in the stylised decoration of the carpet. Netherlandish art was popular among the patrons of the period as well, as we can see by the rings on Federico's hands, which Piero had painted by Pedro Berruguete, a Spaniard with a Northern training.
The other aspect of this painting that must not be underestimated is its similarity with the new developments of Florentine painting, visible primarily in the work of Verrocchio and some of his young pupils. The angels' garments are decorated with jewels and with huge precious brooches, their hair is held back by elegant diadems: these elements, and even their melancholy expression, are certainly influenced by the recent developments in Florentine art. In the same way, St John the Baptist's and St Jerome's bony limbs, emaciated by deprivations in the wilderness, recall some of Verrocchio's studies; and the sleeping Child, in his extraordinary contorted position, anticipates some of the young Leonardo's drawings of putti.
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