Untitled Document

Palacio Ducal

"The first architect of his palace was a Florentine, Maso di Bartolomeo, a pupil and collaborator of Cosimo de' Medici's architect, Michelozzo. Maso di Bartolomeo built the section of the palace known as the 'Palazzetto dell lole,' which in typical dynastic mode incorporated the princely residence of Federico's ancestors. The Florentine sculptor Luca della Robbia was also briefly in Urbino, making a maiolica relief for the Dominicans for the portal of the church of San Domenico, which Federico himself financed. Cosimo de' Medici had no doubt been asked by Federico to recommend the best Florentine artisans. By 1465, however, when at the height of his powers, Federico was looking for a new architect and complaining that there was a dearth of Florentine talent. As a result, Luciano Laurana was brought from Alessandro Sforza's court in Pesaro with the permission of Ludovico Gonzaga (who had loaned him out temporarily).

It was Laurana's contributions (c. 1466-72), and perhaps more emphatically those of Francesco di Giorgio (from c. 1476), that transformed the palace into the very symbol of Urbino: Castiglione described it as a 'city in the form of a palace'. (…) The classical orders and carved ornament identify the elevated social status of the buildings and at the same time imply a sense of civic order that comes from good government. The patent letter of 1468 confirming Laurana's appointment as artistic director of the palace states that the skill of an architect is held in exceptional esteem, because it is grounded in the noble liberal arts of arithmetic and geometry. Laurana was given the funds and authority to direct and orchestrate every aspect of construction and decoration, from the stonecutters, sculptors, and intarsia workers to the palace's administrative agents. This was done in close liaison with Federico, despite his frequent absences on condottiere business.

The Urbino palace is the greatest of the many beautiful palaces that Federico built throughout his territory. Built into the hillside yet opening on to the city's main square, the palace is defensive but also accessible. Laurana's and Francesco di Giorgio's contributions include a central facade, with graceful towers framing a three-storey loggia, a broad staircase leading up to the piano noble, or main floor, and a spacious inner courtyard with a wide colonnade of remarkably pure proportions. Unlike Sigismondo Malatesta's nearby Castel Sismondo, which was an aggressive statement of power on Lombard-Emilian lines, Federico's palace is an eloquent symbol of his peacetime ambitions. The sculptural exterior and interior decoration of the palace and the marquetry furnishings have been attributed to Lombard, Venetian, and Florentine masters. Two of the outstanding contributors were the Tuscan Domenico Rosselli and the Venetian sculptor Ambrogio Barocci, who had access to designs used in Milan and Pavia. Between Laurana's departure in 1472 and the Sienese Francesco di Giorgio's appointment as palace architect (c. 1476), Ambrogio may have temporarily been in charge."

En: ALSION COLE, Art of the Italian Renaissance Courts, Londres, Everyman Art Library, 1995, págs. 73-77.

URBINO


Palacio Ducal "The first architect of his palace was a Florentine, Maso di Bartolomeo, a pupil and collaborator of Cosimo de' Medici's architect, Michelozzo. Maso di Bartolomeo built the section of the palace known as the 'Palazzetto dell lole,' which in typical dynastic mode incorporated the princely residence of Federico's ancestors. The Florentine sculptor Luca della Robbia was also briefly in Urbino, making a maiolica relief for the Dominicans for the portal of the church of San Domenico, which Federico himself financed. Cosimo de' Medici had no doubt been asked by Federico to recommend the best Florentine artisans. By 1465, however, when at the height of his powers, Federico was looking for a new architect and complaining that there was a dearth of Florentine talent. As a result, Luciano Laurana was brought from Alessandro Sforza's court in Pesaro with the permission of Ludovico Gonzaga (who had loaned him out temporarily). It was Laurana's contributions (c. 1466-72), and perhaps more emphatically those of Francesco di Giorgio (from c. 1476), that transformed the palace into the very symbol of Urbino: Castiglione described it as a 'city in the form of a palace'. (…) The classical orders and carved ornament identify the elevated social status of the buildings and at the same time imply a sense of civic order that comes from good government. The patent letter of 1468 confirming Laurana's appointment as artistic director of the palace states that the skill of an architect is held in exceptional esteem, because it is grounded in the noble liberal arts of arithmetic and geometry. Laurana was given the funds and authority to direct and orchestrate every aspect of construction and decoration, from the stonecutters, sculptors, and intarsia workers to the palace's administrative agents. This was done in close liaison with Federico, despite his frequent absences on condottiere business. The Urbino palace is the greatest of the many beautiful palaces that Federico built throughout his territory. Built into the hillside yet opening on to the city's main square, the palace is defensive but also accessible. Laurana's and Francesco di Giorgio's contributions include a central facade, with graceful towers framing a three-storey loggia, a broad staircase leading up to the piano noble, or main floor, and a spacious inner courtyard with a wide colonnade of remarkably pure proportions. Unlike Sigismondo Malatesta's nearby Castel Sismondo, which was an aggressive statement of power on Lombard-Emilian lines, Federico's palace is an eloquent symbol of his peacetime ambitions. The sculptural exterior and interior decoration of the palace and the marquetry furnishings have been attributed to Lombard, Venetian, and Florentine masters. Two of the outstanding contributors were the Tuscan Domenico Rosselli and the Venetian sculptor Ambrogio Barocci, who had access to designs used in Milan and Pavia. Between Laurana's departure in 1472 and the Sienese Francesco di Giorgio's appointment as palace architect (c. 1476), Ambrogio may have temporarily been in charge." En: ALSION COLE, Art of the Italian Renaissance Courts, Londres, Everyman Art Library, 1995, págs. 73-77.