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During the Renaissance, the Italian city of Urbino rivaled Florence and Siena as a center of art, culture, and commerce. Chances are you've never heard of it—but you should have. Raphael was born there. Piero della Francesca painted his famous The Flagellation there. And the city's exquisite Ducal Palace, its twin towers piercing the sky, remains a striking monument to grace and power. Yet despite all its past glory and present charm, Urbino is practically unknown to tourists today.With Urbino: The Story of a Renaissance City, art historian June Osborne brings to life not only the great city and its art but also its turbulent history and the intrigue surrounding its ruling family. First settled by the ancient Umbrians, Urbino reached its zenith during the fifteenth century under the rule of Duke Federico da Montefeltro and his son Guidobaldo. Federico may have been a usurper and a fierce, opportunistic warlord, but his lust for power was more than matched by his passion for great art. Indeed it was under his direct guidance that the magnificent Ducal Palace was built—its perfectly proportioned courtyard a wonder of early Renaissance architecture.Today the Ducal Palace hosts the National Gallery of the Marches, one of the most important art galleries in Italy, featuring works by no lesser lights than Raphael, Uccello, Piero della Francesca, and Titian. Exploring such sites as the fourteenth-century Oratorio di San Giovanni Battista and the Gothic Church of San Domenico, Osborne captures not only the startling beauty of Urbino and the Apennine foothills but also the tumultuous legacy of Frederico and his son (and their many wives and courtiers).With over a hundred lavish color photographs, many by renowned landscape photographer Joe Cornish, Urbino is the best—and the only—guide to this gem of the Italian Marches.

The studiolo of Federico da Montefeltro in Urbino, the highlight of the Ducal Palace, is the most complete surviving example of an early Renaissance study. Its decorations (dated 1476) consist of a coffered ceiling, of inlaid panels depicting with impressice illusionism a fully-furnished studiolo interior, and of a painted frieze of 28 portraits of famous men. The latter have recently been re-assembled in the room (14 of them photographically, since their originals remain in the Louvre), for the first time since their dispersal in 1632. Much has been written on the decorations, but scholars have never attempted to analyse the various parts as an interacting whole, in order to establish whether they embody an iconographic programme. Such an investigation constitutes the main aim of the monograph. After an introduction on the cultural background, the various reconstructions of the painted frieze are critically surveyed to show why, in spite of continuing controversy,the arrangement proposed by Rotondi in 1973 (which the Soprintendenza of Urbino has followed) should be treated as definitive. The monograph also deals with the Gubbio studiolo, a derivative of the Urbino one (its woodwork is in the Metropolitan Museum). A thourough re-examination of the question of the reconstruction leads to the view that, contrary to common assumption, the Liberal Arts attributed to Justus of Ghent were not part of the original decorations. Both studioli are richly illustrated; specially taken colour photographs of the famous men in situ are also included in the volume.

Text: English, Italian (translation)

During the Renaissance, the Italian city of Urbino rivaled Florence and Siena as a center of art, culture, and commerce. Chances are you've never heard of it—but you should have. Raphael was born there. Piero della Francesca painted his famous The Flagellation there. And the city's exquisite Ducal Palace, its twin towers piercing the sky, remains a striking monument to grace and power. Yet despite all its past glory and present charm, Urbino is practically unknown to tourists today.With Urbino: The Story of a Renaissance City, art historian June Osborne brings to life not only the great city and its art but also its turbulent history and the intrigue surrounding its ruling family. First settled by the ancient Umbrians, Urbino reached its zenith during the fifteenth century under the rule of Duke Federico da Montefeltro and his son Guidobaldo. Federico may have been a usurper and a fierce, opportunistic warlord, but his lust for power was more than matched by his passion for great art. Indeed it was under his direct guidance that the magnificent Ducal Palace was built—its perfectly proportioned courtyard a wonder of early Renaissance architecture.Today the Ducal Palace hosts the National Gallery of the Marches, one of the most important art galleries in Italy, featuring works by no lesser lights than Raphael, Uccello, Piero della Francesca, and Titian. Exploring such sites as the fourteenth-century Oratorio di San Giovanni Battista and the Gothic Church of San Domenico, Osborne captures not only the startling beauty of Urbino and the Apennine foothills but also the tumultuous legacy of Frederico and his son (and their many wives and courtiers).With over a hundred lavish color photographs, many by renowned landscape photographer Joe Cornish, Urbino is the best—and the only—guide to this gem of the Italian Marches.

The studiolo of Federico da Montefeltro in Urbino, the highlight of the Ducal Palace, is the most complete surviving example of an early Renaissance study. Its decorations (dated 1476) consist of a coffered ceiling, of inlaid panels depicting with impressice illusionism a fully-furnished studiolo interior, and of a painted frieze of 28 portraits of famous men. The latter have recently been re-assembled in the room (14 of them photographically, since their originals remain in the Louvre), for the first time since their dispersal in 1632. Much has been written on the decorations, but scholars have never attempted to analyse the various parts as an interacting whole, in order to establish whether they embody an iconographic programme. Such an investigation constitutes the main aim of the monograph. After an introduction on the cultural background, the various reconstructions of the painted frieze are critically surveyed to show why, in spite of continuing controversy,the arrangement proposed by Rotondi in 1973 (which the Soprintendenza of Urbino has followed) should be treated as definitive. The monograph also deals with the Gubbio studiolo, a derivative of the Urbino one (its woodwork is in the Metropolitan Museum). A thourough re-examination of the question of the reconstruction leads to the view that, contrary to common assumption, the Liberal Arts attributed to Justus of Ghent were not part of the original decorations. Both studioli are richly illustrated; specially taken colour photographs of the famous men in situ are also included in the volume.

This magnificent book traces the dramatic evolution of Raphael’s style, from his earliest work as a competent master of provincial church decoration in Urbino to his later, masterful paintings in Rome. With beautiful color illustrations of more than 90 of the artist’s paintings and drawings, accompanied by detailed catalogue entries and informative essays by distinguished scholars, the book is destined to become a classic text on this revered Renaissance artist.Included in the book are discussions of Raphael’s origins in Urbino, his earliest influences, and his first works for churches in Umbria and the Marches. The influence of Leonardo and Michelangelo on the young artist as well as the flourishing of his art under the enlightened patronage of Pope Julius II are also studied in detail. The book concludes with two short essays on Raphael’s great Vatican frescoes and with a look at the artist’s longstanding reputation and the presence of his work in many great British collections.

Color-illustrated wraps with tan and grey lettering. 342 pp. Color illustrations. Text in Italian. Catalogue of an exhibition held at the Galleria nazionale delle Marche, Urbino, Italy, Apr. 4-July 12, 2009.