highly appreciated by us; and whereas, we, having sought everywhere, but particularly in Tuscany, the fountain of architects, without finding any one really versant and skilful in that profession, and having lately heard by report, and since ascertained by full experience, the learning and attainments of the distinguished Messer Lutiano, bearer hereof; and, further, we, having resolved to erect in our city of Urbino a fair residence, in all respects befitting the rank and reputation of our predecessors and ourselves—have, for these causes, selected the said Messer Lutiano as engineer and chief of all those employed upon that fabric, in building, hewing, woodwork," &c. &c. The deed goes on to enjoin upon all the workmen implicit obedience to his orders, and to authorise his entire control over them, and over the funds destined for the palace.120
Although the date of this patent may appear inconsistent with that already adopted for the foundation of the Corte, as this residence was usually called, it is clear, from other documents printed along with it, that operations were already considerably advanced under the superintendence of Luziano. In the preceding year we find him designed the Count's engineer, acting as a sort of clerk of the works, and litigating with a builder from Como regarding measurements of masonry; indeed, he seems to have continued these duties until his death at Pesaro, soon after that of his patron, whose liberality enabled him to leave considerable property to his children.
The edifice thus commenced was carried on by Baccio Pontelli, a Florentine artist, who, though designing himself a carpenter, was much employed by Sixtus IV. to erect important fabrics in Rome. It is impossible now to decide whether he was at first assistant to Lauranna, or what portion of the Corte we owe to him, the entire credit of which seems claimed in a presumptuous epitaph, apparently of his own composition, which is given by Gaye.121 He was employed upon it in 1481, when applied to by Lorenzo de' Medici to furnish a design or plan of the already famous work, a request handsomely responded to by Federigo, in that almost oriental exaggeration of compliment still usual in Lower Italy, with the assurance that such a wish was a command, and that he only regretted being unable to send him the building itself, of which he might fully dispose. Baccio's letter mentions it as then at the fifth story, and that his drawing had been done from actual measurements, thus proving he had no access to the original plan—circumstances strongly presumptive that the design was not his, but that of Luziano, who lived till the following year. The praise bestowed by him on the carved ornaments and decorations render it probable that they had been under his peculiar charge. There is no evidence as to the length of Baccio's stay at Urbino, but he is said to have obtained the privileges of citizenship, and to have built the church of S. Bernardino and the castle of Sinigaglia.
Such are the architects whom recent investigations enable us to claim as authors of the palace at Urbino, which Vasari and many others have celebrated for the beauty and comfort of its internal arrangements, the magnificence of its saloons, the convenience of its imposing stairs; for its smiling chambers, its vast corridors, its airy porticoes and pleasant baths, its gilded doors and windows, its rich furniture, carpets, and brocades. The assertion of that writer, so often inaccurate as to Umbrian matters, ascribing its merit to Francesco di Giorgio, may now be considered as disposed of, notwithstanding the zeal with which his countrymen of Siena have reasserted his claims; but the lights lately thrown upon his performances by Promis of Turin, enable us to restore to him the credit of certain bellicose decorations, often imputed to Roberto Valturio, and which have attracted attention rather from their adaptation to the genius of Count Federigo than from their artistic value. They consist of a frieze of military machines, which Vasari mentions as painted in fresco, but which were carved in relief along the exterior basement of the palace: designs for most of these remain among the MSS. of Francesco, and they have been engraved and tediously explained in Bianchini's ponderous work. Their original object was no doubt to illustrate the pompous inscription which surrounds the great court in immense capitals.122 After being injured and scattered, they were again collected about a century ago, and arranged by Cardinal Stoppani along the corridor of the principal story. They are each about three feet by two, rudely representing seventy-two engines long since disused in war, and interesting only to the antiquary. Among the sculptors employed upon them, and similar architectural ornaments in the Corte, was Ambrogio Baroccio of Milan, great-grandfather of a painter as to whom we shall have much to say in our fifty-third chapter.
We need not weary our readers by minute descriptions of the palace, which, upon near approach, hardly realises the imposing effect of its site. The rugged and broken ground on which it stands has, in a great degree, marred that unity of plan which is essential to architectural grandeur and harmony, augmenting at the same time the difficulties of construction. Notwithstanding this drawback, and the rambling character which a portion of the building has consequently taken, there is much beauty in the façade of the great court, and in the unfinished elevation towards the cathedral, although the brickwork is but partially cased with stone. Barbaro, in his commentary upon Vitruvius, cites the grand stair as a model of beauty and convenience, and the corridors of the principal story (enriched, since 1756, with the museum of antique sculpture and inscriptions collected by Raffaele Fabretti) are truly magnificent. From these open many splendid rooms, among which is the great hall, about one hundred and twenty feet in length, of noble proportions, and severe in a simplicity contrasting with the chromatic decorations usual in Italy. In its elevated niches were formerly placed the insignia of its lords and of their allies, but of these none remain save the winged lion of St. Mark, which still looks proudly down upon the deserted audience-chamber, where its envoys used to be deferentially received by those long-departed dukes who often bore its banner to victory. The next story, which from its ornaments and devices appears to have been finished by Duke Guidobaldo II., is the summer residence of the cardinal-legate of Urbino and Pesaro, and, consequently, is seldom shown.
Each of the towers seen in the engraving, and considered by Passavant as antecedent to Duke Federigo, contains a spiral staircase of curious construction, leading to balconies whence may be enjoyed a most characteristic prospect of the surrounding country, wherein
"Hills are not seen, but for the vales betwixt
The deep indentings."
Fatigued by its uptossed and almost barren undulations, the eye turns for repose to the magnificent sierra, which bounds the horizon. On the extreme left is Monte Catria, crowned by the convent of S. Albertino, 5600 feet above the sea. Then comes Monte del Cavallo, described by Cimarelli as the most beautiful of all the Apennine chain, and named from the horses of famous race bred by the later princes of Urbino, on the luxuriant pastures of its gentle slopes and verdant meadows. Monte Nerone, so called from an
"Unwritten story fondly traced
From sire to son,"
which tells that the blood-stained tyrant of Rome once dwelt there, is supposed to be a slumbering volcano. Its rich iron ore was once highly productive, and the herbs and simples grown on it were esteemed above all others in Italy. Far on the sky-line are discerned the Sassi di Simeone, twin rocks of singularly abrupt form, separated by the Tuscan frontier. Northward from these stands the massive Monte Carpegna, cradle of the Montefeltrian race, domineering over their original fief, and giving its local name to the wind which sweeps from its heights upon the Adriatic. The mountain view terminates with the triple peaks of San Marino, isolated, it would seem, by nature, as well as by the forms of its constitution and the accidents of its history.
The merit specially dwelt upon in the old descriptions of this palace is the carved work in wood and stone, executed by sculptors brought from various places, and facilitated by the excellent quality of a close-grained grey limestone, imported from the Dalmatian coast. The most striking of its decorations are accordingly the elaborate tracery encircling the architraves, doorways, lintels, and chimneys, and running along the cornices. This consists of fine arabesque designs, mingled with dancing loves, and interlaced with military trophies and heraldic fancies, among which frequently occur the Garter of England, the Ermine of Naples, the Eagle of Montefeltro, with several monograms and devices usually worn by Count Federigo, the origin whereof is described in No. V. of the Appendices. A kindred art, here lavishly expended, is that of tarsia, or wood inlaying, which, unlike the more modern marquetrie, was enriched by pure arabesque designs, and even by historical or religious compositions. In this style, though now sadly defaced, were