The city preserves an intact historic and urbanistic patrimony which has its origins in the Renaissance. At the same time it is a modern cultural centre of an international standard. Intentionally we have not gone back to the ancient origins of the city which was a Roman town known as "Urvinum Mataurense and before that a settlement of Celtic and Umbrian populations. Indeed it was Federico of Montefeltro the enlightened prince of the fifteenth century who, with his ingenius political and cultural initiatives, transformed an anonymous and harsh land into a historically well-defined territory. Therefore a person wishing to better understand Italian civilisation should not overlook the history of Urbino.

URBINO, old capital of the Dukedom, is located on a hill between the Foglia and Metauro rivers. It is sheltered from the west by the Appenine Range and faces an easterly direction toward the Adriatic Sea. In this location Federico conceived his dream of constructing a State organised upon rationality. As a physical symbol of the State, the prince devised a work of architecture which is the synthesis of the new humanistic idea. Instead of a castle anchored to the old military principles of attack and defense, he thought of a palace open to the circulation of people and ideas. Thus a palace of solid structure with external harmonious slenderness and functional interiors was built. The palace assumed the form of a city and soon after, as can be deduced from the wonderful pages of the 'Cortegiano' by Baldassar Castiglione, became the privileged centre for a new model of civilisation.

The Severity of the place inspired the Dalmation architect, Luciano Laurana, to adopt the courageous solution of the rising towers which on the western facade look toward Tuscany thus posing an ideal link with the cradle of the Rennaissance. The two agile and elegant towers represent a magic contrast to the massive fortress of Albornoz (erected in the fourteenth century with an evident military purpose) from whose ramparts it is possible to glimpse a suggestive panorama of the city with its palaces, its houses, and the numerous windows which open onto the surrounding nature.

Each chamber is unique in having a particular function and this characteristic is valid for the rooms in the nobiliary floors of the Palace. From the Court of Honour a sloping ramp leads directly to the underground chambers: the horse training stable traditionally called Maneggio; the stables; la Neviera a cone-shaped room into which snow was deposited from the garden above, and used as a cool room for preserving food; the kitchens and the Dukes baths, with complex systems for heating water and disposing of refuse.

The enormous rooms of the nobiliary floors represent the undisputed supremacy of light and harmony. They are the symbol of a time when Urbino was the focal point of scientific and mathematic humanism, of which Piero della Francesca is a famous example.

Since 1912 the Palazzo Ducale (Dukes Palace) has been the home of the National Gallery of the Marche hosting an artistic patrimony of exceptional importance. From the spacious Salone del Trono (Throne Hall), whose immaculate walls are embellished with large seventeenth century tapestries worked from drawings by Raffaello, the route weaves its way through the most characteristic and intimate chambers; the Sala delle Veglie (The Gathering Room) in which the most sophisticated intellectuals of the time met; the Duchessa's apartment which includes the dressing room, the day room, the bedroom, the wardrobe and the prayer room; and finally lo studiolo (the Study,) the ideal centre of the Palace whose walls are panelled with marquetry creating perspective illusions (the work of Baccio Pontelli, fifteenth century). Under the study the Cappella del Perdono (Chapel of Pardon) and the Tempietto delle Muse (Little Temple of the Muses) are located, in an astounding synthesis of pagan culture and Cristian philosophy.

In this atmosphere some of the most significant works of art housed in the gallery are brought to life: the "Flagellazione" (The Flagellation of Christ) and the Madonna di Senigallia (The Madonna of Senigallia) by Piero della Francesca; the "Miracolo dell'Ostia profanata" (Story of the Profaned Host.) by Paolo Uccello; the 'Città Ideale' (The Ideal City) attributed to Piero della Francesca, together with other paintings by Luca Signorelli, Tiziano, Pedro de Berruguete, Giusto de Gand, Giovanni Santi and Federico Barocci. In this climate the genius of Raffaello was born and pronounced. His 'Ritratto di Gentildonna' (Portait of a Lady) and the 'Santa Caterina d'Alessandria' can be found in the Pinacoteca (Art Gallery) together with other important masterpieces such as the collection of fourteenth century paintings by Giovanni Baronzio and Maestro di Verucchio of Rimini, and big Allegretto Nuzi and Lorenzo Salimbeni of the Marche; the works of the rnasters of fifteenth century sculpture such as Agostino di Duccio and Luca della Robbia; the canvases of two important representative painters from the first half of the seventeenth century, Orazio Gentileschi and Andrea Lilli. In the elevated section of the palace (built in the sixteenth century by Della Rovere) can be found a rich collection of rnajolica and ceramic pieces ranging from the third to the eighteenth century. The works originate from the thriving workshop of Urbino, Casteldurante, Pesaro and Gubbio (Dukedom of Montefeltro), as well as from Faenza, Deruta and Castelli.

In the picture: 'La Vergine col Bambino' by Andrea Verrocchio

The architectonic structures extending from the sides of the palace have a strong connection with the landscape. One can start the visit from the Basilica Metropolitana, home of the Albani Museum, which holds rich treasures and other masterpieces dating from various periods. Then continue on to the nearby Oratorio della Grotta (located in the undergrounds of the Basilica) where one can admire the marble grouping of the`Cristo morto' (sixteenth century), focus of devotion and pilgrimage. From there one can proceed to the Monastery of Santa Chiara, a structure which in the eastern part reveals the skillful hand of Francesco di Giorgio Martini. A spiral rarnp. conceived by the same Sienese architect, takes the visitor to the roots of the Palazzo Ducale. Next, continue on to the monumental mausoleum of the Duke, derised by Bramante, and located just outside the walls of Urbino. Follow on to the Oratories of San Giovanni (with a spectacular series of late Gothic frescoes by the brothers Lorenzo and Jacopo Salimbeni) and of San Giuseppe, in which one can view a superb nativity in stucco (sixteenth century) by Federico Brandani.

Not far from the fifteenth century belltower of the Church of San Francesco, is found the house in which Raffaello was born. It is an interesting example of fourteenth century minor architecture and is today the centre of the 'L'Accademia Raffaello' as well as a museum rich in works of art such as 'La Madonna col Bambino' (Madonna with child) a fresco by the young Raffaello.

The history of Urbino is ideally and physically related to the history of its university whose first nucleus dates back to 1506. The medieval residence of Count Antonio di Montefeltro, today the head office of the university, is linked to the modern structure of the university colleges positioned on the western ridge of the Cappuccini hill. This combination of ancient an modern is a testimony of the cultural role that Urbino continues to have today in the intemational field. From Urbino, centre of a territory crossed by the Foglia and Metauro rivers, begin various itineraries which weave through areas representing a heritage of extraordinary artistic, historic and panoramic interest

Azenda di Promozione Turistica
A.P.T. URBINO ITALY

Urbino Tourist Office
Piazza Rinascimento, 1
telefono 0722/2613
fax 0722/2441