47 cm (height, each panel) x 33 cm (width, each panel)
Work_MeasurementDisp lay
47 cm (height, each panel) x 33 cm (width, each panel)
Measurements
Subjects:
allegory; landscape; portrait; rulers and leaders; Battista Sforza Montefeltro, consort of Federico, da Montefeltro, Duke of Urbino, 1446-1472; Federico, da Montefeltro, Duke of Urbino, 1422-1482
Work_Image_SubjectDi splay
allegory; landscape; portrait; rulers and leaders; Battista Sforza Montefeltro, consort of Federico, da Montefeltro, Duke of Urbino, 1446-1472; Federico, da Montefeltro, Duke of Urbino, 1422-1482
Subjects
Description:
The work was originally a hinged diptych, two panels painted on both sides. Federico da Montefeltro was one of the most successful condottieri of the Italian Renaissance, and lord of Urbino from 1444 (as Duke from 1474) until his death. He was renowned for being a Humanist intellectual, as was his wife, Battista Sforza. This work was commissioned shortly after Battista's death (1472); she was mourned deeply by the Duke. Her portrait may have been created by Piero from a death mask. The beautiful landscapes may have been influenced by Flemish painting. The portraits are the inner panels when opened; the strict profiles are inspired by Roman coins. When closed, the outer allegorical panels were visible, with two triumphal chariots, also based on Roman imagery. Battista's chariot is drawn by unicorns. The Latin inscriptions describe the virtues of the couple, personified above. The diptych is now separated and placed in a freestanding 19th century frame that allows it to be viewed from both sides. (Source: Virtual Uffizi Gallery [website]; https://www.virtualu ffizi.com/)
Work_Description_Sou rce
The work was originally a hinged diptych, two panels painted on both sides. Federico da Montefeltro was one of the most successful condottieri of the Italian Renaissance, and lord of Urbino from 1444 (as Duke from 1474) until his death. He was renowned for being a Humanist intellectual, as was his wife, Battista Sforza. This work was commissioned shortly after Battista's death (1472); she was mourned deeply by the Duke. Her portrait may have been created by Piero from a death mask. The beautiful landscapes may have been influenced by Flemish painting. The portraits are the inner panels when opened; the strict profiles are inspired by Roman coins. When closed, the outer allegorical panels were visible, with two triumphal chariots, also based on Roman imagery. Battista's chariot is drawn by unicorns. The Latin inscriptions describe the virtues of the couple, personified above. The diptych is now separated and placed in a freestanding 19th century frame that allows it to be viewed from both sides. (Source: Virtual Uffizi Gallery [website]; https://www.virtualu ffizi.com/)
