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profile, an angle that ensured a good likeness and a faithful representation of facial details without allowing their sentiments to show through: indeed, the Duke and
Duchess of Urbino appear unaffected by turmoil and emotions. The couple are facing each other and the spatial element is suggested by the light and the continuity of the rolling landscape in the background, representing the area of the Marches over which ruled. The chromatic contrast between the bronze skin tones used for Federico and the pale tones of Battista Sforza is striking; pale pallor . . . not only respects the aesthetic conventions which were fashionable during the Renaissance but could also allude to her untimely death in 1472. On the back of the panels, the are featured being carried triumphantly on ancient wagons, accompanied by the Christian virtues; the Latin inscriptions pay tribute to the couple’s moral values. The presence of the images on the reverse side suggests that the two paintings, now set in a modern frame, would once have been part of a diptych.
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One of . . . Piero della
Francesca's most famous works, the double portrait is representative of the relationship between the painter and the of Montefeltro; Piero was a frequent guest at their court, . . . which would soon become one of the most important cultural and artistic hearts of Italy. The
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One of the most celebrated portraits of the
Italian Renaissance, the diptych features the Duke of Urbino Federico da Montefeltro (1422–1482) and his wife Battista Sforza (1446–1472). In the tradition of the fourteenth century, inspired by the design of ancient coins, the two figures are shown in
132:
agrees that the work was probably created soon after
Battista’s untimely death, but argues that the inscriptions’ emphasis on her husband’s deeds and virtues would have been inconsistent with his profound grief at her loss. She suggests instead that the diptych was commissioned by someone else
127:
It has generally been assumed that this work was commissioned by
Federico. Piero biographer James R. Banker shares that view and states that he is “confident that Piero painted soon after Battista’s death.” The assumption that Federico commissioned the work has been questioned by one scholar,
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The allegorical scenes on the back of the portraits are unique, and their meaning is enhanced by Latin inscriptions on the simulated architectural base below them. Their iconography is based on a complex tradition dating back to the
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master painter marries the strict approach to perspective learned during his
Florentine education with the lenticular representation more characteristic of Flemish painting, achieving extraordinary results and unmatched originality.
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Federico’s triumphal car is drawn by a team of white horses, as was traditional for victorious commanders in antiquity. He is accompanied by allegorical figures of the four
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The famous one is drawn in glorious triumph Whom, equal to the supreme age-old captains, The fame of his excellence fitly celebrates, As he holds his scepter.
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158:. The Roman triumphs celebrated military victories, but Petrarch’s triumphs were allegories of love, chastity, death, fame, time, and eternity.
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in 1472 and to console him for the loss of his beloved young wife, who had become ill in his absence and died soon after his return.
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177:—prudence, justice, fortitude, and temperance—the attributes of a good leader. His inscription can be translated as follows:
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193:, he was honored with a live triumph by the city of Florence in the summer of 1472 to celebrate his defeat of
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315:"The Duke and Duchess of Urbino Federico da Montefeltro and Battista Sforza | Artworks | Uffizi Galleries"
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154:, which was further enriched by a series of allegorical poems by the 14th-century Italian poet
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Federico was indeed a victorious commander famed for his excellence. As one of the greatest
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Battista’s triumphal car is drawn by unicorns, symbolic of chastity, and carries the three
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28:
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of
Federico da Montefeltro and Battista Sforza are two oil paintings by Italian artist
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47 cm Ă— 33 cm (19 in Ă— 13 in); each panel
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was not made duke until 1474, however, Battista never attained the title of duchess.
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The Uffizi
Diptych by Piero della Francesca: Its Form, Iconography, and Purpose
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on the back of the double portrait of
Battista Sforza and Federico Montefeltro.
235:"The Duke and Duchess of Urbino Federico da Montefeltro and Battista Sforza"
208:—faith, hope, and charity (love). A translation of her inscription reads:
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137:) as a gift both to honor him for his triumphant military campaign at
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90:, dated to 1473–1475. This famed double portrait is often mistitled
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293:"Delving into an Incomparable Work of Renaissance Portraiture"
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however. In an article based on her M.A. thesis on the work,
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Diptych of
Federico da Montefeltro and Battista Sforza
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Diptych of Federico da Montefeltro and Battista Sforza
411:. J. J. Augustin. Institute of Fine Arts. p. 96.
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Adorned with the praise of her great husband’s deeds.
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201:. Piero’s painting may well allude to that event.
265:Socheolas: Limerick Student Journal of Sociology
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291:Kamhi, Michelle Marder (October 8, 2021).
114:The Uffizi describes the work as follows:
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513:Portrait of Sigismondo Pandolfo Malatesta
212:She who retained modesty in good fortune
16:Double portrait by Piero della Francesca
343:Piero della Francesca: Artist & Man
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214:Now flies through all the mouths of men
710:The Frescoes of Piero della Francesca
258:"Battista Sforza, Countess of Urbino"
94:—as it appears on the website of the
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394:from the original on March 7, 2023.
275:from the original on March 7, 2023.
738:Paintings by Piero della Francesca
197:on behalf of the Medici rulers of
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691:De quinque corporibus regularibus
303:from the original on 2021-10-08.
245:from the original on 2019-04-11.
27:
408:Change in Piero della Francesca
321:from the original on 2019-04-11
256:Hoysted, Elaine (April 2012).
92:The Duke and Duchess of Urbino
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567:Polyptych of the Misericordia
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383:. Vol. Master's Thesis.
156:Francesco Petrarca (Petrarch)
528:Saint Julian the Hospitaller
405:Creighton, Gilbert (1968).
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590:Saint Augustine Altarpiece
680:(treatise on perspective)
483:History of the True Cross
340:Banker, James R. (2014).
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686:(treatise on arithmetic)
374:Kamhi, Michelle (1970).
145:The allegorical triumphs
733:Paintings in the Uffizi
694:(treatise on polyhedra)
677:De Prospectiva pingendi
559:Saint Louis of Toulouse
348:Oxford University Press
104:Federico da Montefeltro
98:, which owns it. Since
713:(1955 orchestral work)
475:Flagellation of Christ
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170:
165:Scenes of allegorical
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743:Renaissance portraits
636:Madonna di Senigallia
460:Piero della Francesca
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130:Michelle Marder Kamhi
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88:Piero della Francesca
40:Piero della Francesca
613:Polyptych of Perugia
206:theological virtues
191:Italian Renaissance
110:Genesis of the work
387:. pp. 49–54.
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135:Lorenzo de’ Medici
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536:Madonna del Parto
498:Baptism of Christ
102:died in 1472 and
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350:. p. 147.
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49:circa 1473–1475
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385:Hunter College
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357:978-0199609314
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271:(1): 100–116.
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239:Uffizi Gallery
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323:. Retrieved
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237:. Florence:
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644: 1474
631:(1472–1474)
621: 1470
593:(1454–1469)
583: 1465
570:(1460–1462)
552: 1460
531:(1454–1458)
521: 1451
491: 1447
478:(1455–1460)
325:October 12,
187:condottieri
57:Oil on wood
727:Categories
221:References
76:, Florence
62:Dimensions
467:Paintings
133:(perhaps
748:Diptychs
669:Writings
575:Hercules
389:Archived
319:Archived
301:Archived
273:Archived
243:Archived
199:Florence
195:Volterra
167:triumphs
139:Volterra
70:Location
702:Related
189:of the
84:Diptych
562:(1460)
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54:Medium
36:Artist
392:(PDF)
381:(PDF)
261:(PDF)
413:ISBN
352:ISBN
327:2021
82:The
46:Year
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