The Ducal Palace

The Ducal Palace is a wonderful Reinassance Court, but also a fortified building if compared to the below Piano del Mercatale. It can be reached through the big helicoidal spiral stairs designed by Francesco di Giorgio Martini (which connected the Montefeltro Residence to the Data Stables and the exterior of the walls). The grand “building in the shape of a city” does not need any introduction, as it is well known. It was built by the will of Federico da Montefeltro, who initially entrusted the works to Maso Di Bartolomeo from Florence (in the mid-15th century), who included in the new building the old building called Della Jole. However, the building was mainly the work of the famous Dalmatian architect Luciano Laurana who designed the wonderful Cortile d’Onore (Courtyard of Honour) and the main stairs and who raised the linking elements with the old Castellare, designing also the wonderful façade with the Torricini (twin towers).
When Laurana left Urbino in 1472, he was substituted by Francesco di Giorgio Martini who almost completed the building and designed the decoration of the façade overlooking the internal part of the city. For the portals’ and windows’ moulding he called the Milanese sculptor Ambrogio Barocci, who also made the main decorations of the big internal rooms and halls. After the death of the Duke Federico (1482), the imposing building was interrupted. Only in the first half of the 16th century the architect Girolamo Genga added the second floor, eliminating the battlements and alas, altering the original features of the whole building which is today home to the Galleria Nazionale delle Marche (National Gallery of Marche).

“It is normal that everyone is inclined to immediately focus their attention on the Ducal Palace. The outer appearance of the imposing building shows the accuracy with which the project was implemented, respecting the natural unevenness of the ground. The façade with its twin towers – the Torricini for Urbino inhabitants – and the superposed balconies make the building unique. The main entrance is however in the opposite façade which overlooks the Piazza named after the Duke Federico. Once walked through the great doorway in travertine marble, you reach the Cortile d’Onore (Courtyard of Honour) completely delimited by the portico on all 4 sides. Here you can notice the perfect play of geometry, rhythm and proportion. The matching of bricks with stone creates refined chromatic combinations. The inscription on the double moulding are a clear act of celebration: “Federico, Duke of Urbino, Count of Montefeltro and Casteldurante, Knight of the Holy Roman Catholic Church and Commander of the Italic Confederation, built this house, raised from its foundations to celebrate his glory and the glory of posterity / More than once he fought in war, six times he united the ranks, eight times, he put the enemy to flight and winner of all his battles he increased his supremacy. His justice, clemency, liberalism and devotion are equal to honour with peace his victories”.  Before the 16th century enlargement, which saw the building of 2 upper storeys, in a rear position with respect to the original building, the courtyard of the monolithic columns and the Corinthian capitals, the building still had a better architectural balance, perfection and airiness. From the ground floor we can reach the basements with the kitchens, the neviera, snow deposit for the conservation of food and the ovens: in short all the rooms necessary to the everyday life at the court. These rooms have been recently open to the public and offer further information about the less official, more functional aspects of the Renaissance everyday life (…). The basements are an integral part of the engineering spirit which made this building possible. Before climbing the steps of the grand staircase which brings to the Piano Nobile it is worth stopping some more minutes on the level of the Cortile d’Onore (Courtyard of Honour) and enter the room containing the Duke’s Library. Baldassare Castiglione described it as “the supreme excellence of the great palace”, but today all that remains is the atmosphere and the decorations on the ceilings with the black eagle in stone. The rare volumes in Greeks, Latin and Hebrew which were once contained in these rooms were taken to the Vatican Library by the Papal State in the 17th century. In the rooms close to the library there are some works by Ambrogio Barocci: some reliefs representing ships, machines and instruments. Once, these pieces of work adorned the back of the seats which are along the two winged façade in the Palace entrance. On the ground floor, between the Cortile d’Onore and Piazza Rinascimento there is the Archaeological Museum: 5 rooms displays a set of ancient inscriptions, re-producing what was once the “stone collection” created by the Cardinal Giovan Francesco Stoppani in the 18th century. At the top of the stairs that lead up to the first floor, the itinerary to follow is almost natural, bringing the visitor into close contact with the beauty of the Ducal Palace. The first rooms are the ancient heart of the building. Shortly, you reach the “new court”, go through the guests’ rooms and reach the Duke’s apartments, where you will see some of the most beautiful pieces of work on show in what is now the National Gallery of Marche. What follows is a brief outline of the rooms and their contents. The Sala delle Udienze (Audience Chamber) contains two splendid masterpieces by Piero dell Francesca (1415/20 – 1492): the “Madonna of Senigallia” - a name which indicates the city where the painting was kept until 1917 - and the “Flagellation”. The latter piece was originally kept in the Urbino Cathedral and it is one of the most important and enigmatic pieces of work of the artist from Sansepolcro. The assumptions about the people depicted in the painting and the symbolic interpretations are many. According to the traditional interpretation the blond young guy in the centre is the Federico’s stepbrother, Oddantonio, who died victim of a conspiracy in 1444. He is depicted between two bad advisors. According to a more recent analysis, the left part of the painting represents the difficulties of the Church, and on the right, the blond young guy is Buonconte, son of Federico, who died of plague.

Behind the main balcony situated between the Torricini there is a small and spectacular room: the “Studiolo del Duca” (Duke’s study room). Here the marquetry work is astonishing and the symbology is so rich that the visitor is obliged to look at the walls centimeter after centimeter in order not to miss any detail and secret. The Studiolo was supposed to be a place of rest and contemplation for Federico the “soldier” and the decorations on the walls could be interpreted as the symbolic “sum” of the Duke’s ideals of life, with astronomy, music, arts, books and architecture which represents his interests. The marquetry work was done in the workshop of the Florentine Baccio Pontelli probably from the design of Francesco di Giorgio Martini. In the upper part of the Studiolo there were twenty-eight portraits of “illustrious men” on two levels. They were the work of Piero Berruegete and Joos Van Gand. Today some of the originals, taken away in 1632, are in the Louvre Museum in Paris. The ceiling was the work of Giuliano da Maiano and of his Florentine workshop.

Using the spiral staircase of the right-hand tower you reach the lower floor and visit two other symbolic small rooms: the Cappellina del Perdono (Chapel of Forgiveness) and the Tempietto delle Muse (Temple of the Muses). These two rooms seem to exalt on equal levels Christian Divinity and the classical mythological characters. The first room has a vault decorated with cherubs, the second one contains Apollo and the Muses, eight paintings made by Giovanni Santi, father of Raphael, and Timoteo Viti which are today in the Corsini Gallery in Florence. The last room of the Ducal Apartments is the Sala degli Angeli (Room of the Angels), so called because of the friezes by Domenico Rosselli (1439 – 1498) which decorate the fireplace in the centre of the room. The inlaid lunettes and doors enrich this room which contains two paintings famous all over the world: the “Ideal City” and the “Profanation of the Host”. Much has been written about the latter work. It was painted by Paolo Uccello for the Oratory of the Corpus Domini Confraternity of Urbino between 1465 and 1468. Using a highly modern layout, almost a “story board”, the artist tells, in six episodes, the miracle supposedly happened in Paris in 1290. 

There is no such certainty, however, regarding the painter of the “Ideal City”. The painting comes from the Urbino’s Monastery of Santa Chiara, neither its original purpose nor its author are known. Critics have attributed this piece of work to several artists, ranging from Piero della Francesca to Frà Carnevale, including even the architects Luciano Laurana, Francesco di Giorgio Martini and Luciano Bramante. Up to now no one is sure about the identity of the artist behind this scene of great silence and solemnity. The many mysteries surrounding this city with its ingenious perspective impact have made the painting even more fascinating, consecrating its role as emblem of the Italian Renaissance.
After visiting the Duke’s apartment, there are still different rooms to see before the tour of the first floor is finished. There is the enormous Salone d’Onore (Hall of Honour), also known as the “Throne Room” because during the period of the Church rule (1631 – 1861) the Papal throne was kept here. This is followed by the Sala delle Veglie (Gathering Hall), which bears the hallmark of Francesco di Giorgio Martini, and leads through the rooms which form the Duchess’ Apartments. Here there are other marvellous works of art, as Raphael’s “Portrait of a Gentlewoman”, also known as “La Muta” and the painting “Saint Catherine of Alexandria”, painted by the same artist in his youth.
The Duchess’ bed chamber, the dressing room and the Stanza delle Preghiere (Prayer room) are the last rooms of the apartment. The second floor of the Palace brings the visitor to another era and marks the transition from the Montefeltro to the Della Rovere Family. The palace was extended by the will of Guidubaldo II Della Rovere and the original battlements were encompassed into the design by the architect Geloramo Genga. In this part of the National Gallery of Marche there are a lot of works of art to be admired”.

Several Author, Urbino Guida d'Arte, Edizioni l'Alfiere, 2001 Villa Verucchio (Rn)