If you’re in need of ennobling – and really,Â aren’t we all? – you could heed no better advice than to hightail it over to The Frick Collection. The museum is presenting the first monographic exhibition in the United States on the artistÂ Piero della Francesca, aÂ founding figure of the Italian Renaissance. Of the sevenÂ paintingsÂ on display, six are panels fromÂ the Santâ€™Agostino altarpiece – the largest number from this masterwork ever reassembled publicly – along with Piero’s only intact altarpiece in this country, the magisterial Virgin and Child Enthroned with Four Angels.Â If you aren’t intimatelyÂ familiar with the work of Piero – and I must admit my own ignorance on the subject – it’s likely due to two reasons: much of his recorded output has been either lost or destroyed, and the surviving works, being primarilyÂ frescoes,Â remain in situ, scattered amongÂ a handful of churches within the TuscanÂ triangle of San Sepolcro, Urbino, and Arezzo. Getting to know Piero demands a degree of pilgrimage -Â which only seems proper for an artist whose works revolves on religious themes. So, be thankful The Frick is as close as East 70th Street. It might not be an exhaustive survey, but there’s less voyage,Â more visit. Because visiting with Piero’s subjectsÂ is what you’ll want to do. HisÂ cool color palette and geometricalÂ composition contributes to a refined and meditative nature.Â Piero was also a mathematical theorist, which makes perfect sense when you see the clearly defined volume of his figures and precision perspective. Balanced by aÂ naturalism derived in part from his interactions with Flemish artists,Â Piero’s scenes exude a serenity, whether it beÂ Saint John the Evangelist,Â Saint Apollonia,Â Saint Monica orÂ The Crucifixion, which seeps into the viewer, and turns the seemingly simple act of looking a pictures into anÂ offering of nobility.