Fig. 2.1. Battista Sforza and Federico da Montefeltro. Extended Caption 1
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Fig. 2.2. The city of Urbino and the ducal palace.
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Fig. 2.3. Axonometric detail of the Urbino ducal palace.
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Fig. 2.4. View from loggia outside studiolo.
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Fig. 2.5. View of ceiling and gallery of 28 illustrious men, Urbino studiolo.
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Fig. 2.6. Illustrious men at north wall of Urbino studiolo.
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Fig. 2.7. Illustrious men at east wall of Urbino studiolo.
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Fig. 2.8. Illustrious men at south wall of Urbino studiolo.
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Fig. 2.9. Illustrious men at west wall of Urbino studiolo.
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Fig. 2.10. Directly beneath "FEDERICVS" we find Plato and Aristotle placed side-by-side.
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Fig. 2.11. Cabinet, north wall.
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Fig. 2.12. Cabinet, north wall.
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Fig. 2.13. Candied fruit on bench, north wall.
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Fig. 2.14. Lit candle, north wall.
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Fig. 2.15. Twenty-four objects are displayed on the benches at Urbino.
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Fig. 2.16. Astrolabe and armillary sphere, Urbino studiolo.
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Fig. 2.17. Hope, north wall, Urbino studiolo.
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Fig. 2.18. Faith, south wall, Urbino studiolo.
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Fig. 2.19. Charity, west wall, Urbino studiolo.
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Fig. 2.20. Worm's eye view of the Urbino studiolo walls and ceiling, drawn by author and Amelia Amelia.
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Fig. 2.21. Northeast corner of Urbino intarsia, with Federico in humanist's robes and his armor at right.
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Fig. 2.22. Detail of chain mail, Urbino studiolo.
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Fig. 2.23. Southeast corner of Urbino intarsia, with miniature studiolo at left and an organ at right.
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Fig. 2.24. Civic space at the center of the east wall, Urbino studiolo.
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Fig. 2.25. There was likely some debate over a seven- or eight-sided figure for the cabinet door.
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Fig. 2.26. Heptagonal figure, Urbino studiolo.
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Fig. 2.27. Unicursal octagonal figure drawn by Amelia Amelia after Fra Carnivale.
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Fig. 2.28. Heptagonal floral pattern on upturned "bench."
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Fig. 2.29. Operable intarsia panels folded open, Urbino studiolo.
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Fig. 2.30. Devices in the dado at Urbino and Gubbio include an ostrich, an ermine, olive and oak trees, and a crane.
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Fig. 2.31. Exploding grenade, north wall, Urbino studiolo.
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Fig. 2.32. Bridle, north wall, Urbino studiolo.
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Fig. 2.33. Bench wheels, Urbino studiolo.
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Fig. 2.34. View from loggia outside studiolo.
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Fig. 2.35. Detail of distant city, east wall, Urbino studiolo.
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Fig. 2.36. View of Gubbio ducal palace.
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Fig. 2.37. Plan of Gubbio ducal palace, with studiolo noted as Room 1.
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Fig. 2.38. Worm's eye view of the Gubbio studiolo, drawn by author and Amelia Amelia.
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Fig. 2.39. View of Gubbio studiolo from entrance.
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Fig. 2.40. Northwest wall, Gubbio studiolo.
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Fig. 2.41. Northeast wall, Gubbio studiolo.
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Fig. 2.42. Southeast wall, Gubbio studiolo.
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Fig. 2.43. Southwest wall, Gubbio studiolo.
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Fig. 2.44. Goddess Astronomy with Ptolemy/Ferrante I.
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Fig. 2.45. Goddess Music with Costanzo Sforza.
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Fig. 2.46. Goddess Dialectic with Federico da Montefeltro.
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Fig. 2.47. Goddess Rhetoric with Guidobaldo da Montefeltro.
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Fig. 2.48. Lectern and opened manuscript of Virgil's Aeneid, Gubbio studiolo.
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Fig. 2.49. Mirror with Guidobaldo's initials.
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Fig. 2.50. North corner of Gubbio studiolo.
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Fig. 2.51. Bench legs, Gubbio studiolo.
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Fig. 2.52. Ceiling and funnel windows, Gubbio studiolo.
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Fig. 2.53. Exterior façade of Gubbio studiolo.
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Fig. 2.54. Pipe and tabor, candied fruits, Gubbio studiolo.
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Fig. 2.55. Detail of ceiling, Gubbio studiolo.
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Fig. 2.56. Basket with fruit, Urbino studiolo.
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Fig. 2.57. Lute with broken strings, Urbino studiolo.
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Fig. 2.58. Ceiling, Urbino studiolo.
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Fig. 2.59. Montage of vertical axis in northwest wall, Gubbio studiolo.
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Fig. 2.60. Threaded disc surrounds, Gubbio studiolo.
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Fig. 2.61. Lute anamorphosis, part 1, Urbino studiolo.
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Fig. 2.62. Lute anamorphosis, part 2, Urbino studiolo.
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Fig. 2.63. Lute anamorphosis, part 3, Urbino studiolo.
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Fig. 2.64. Author's montage of cabinet doors from three positions to demonstrate their "swing."
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Fig. 2.65. Chess pieces, Urbino studiolo.
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Fig. 2.66. Small scale portrait of Duke Federico.
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Fig. 2.67. East wall of Urbino studiolo.
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Fig. 2.68. Civic space, east wall, Urbino studiolo.
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Fig. 2.69. Dinocrates presenting the model of a city to Alexander the Great.
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Fig. 2.70. An equivalent of the Urbino studiolo's east wall at Gubbio?
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Fig. 4.1. Double Portrait of Federico and Guidobaldo da Montefeltro. Extended Caption 7
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Fig. 4.2. The ducal library's ceiling at Urbino.
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Fig. 4.3. Ottaviano degli Ubaldini and Federico da Montefeltro.
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Fig. 4.4. Guidobaldo da Montefeltro.
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Fig. 4.5. Vittorino da Feltre, Federico's teacher, among the illustrious men in the Urbino studiolo.
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Fig. 4.6. Section of human head after Leonardo. Extended Caption 8
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Fig. 4.7. Diagram of human mind after Galen. Extended Caption 8
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Fig. 4.8. Diagram of human mind after Lokhorst and Kaitaro's model of Costa ben Luca. Extended Caption 8
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Fig. 4.9. Diagram of human mind after Avicenna. Extended Caption 8
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Fig. 4.10. Diagram of the human mind. Extended Caption 8
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Fig. 4.11. Instrumental demonstration of rectitude. Extended Caption 9
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Fig. 4.12. Perspectival "butterfly," after missing figure at Gubbio studiolo. Extended Caption 10
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Fig. 4.13. Papagalli and mechanical clock, Urbino studiolo. Extended Caption 11
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Fig. 4.14. Detail of north wall, Urbino studiolo.
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Fig. 4.15. Gramatica XXI after traditional Tarocchi di Mantegna. Extended Caption 12
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Fig. 4.16. Late quattrocento emblems worn with armor. Extended Caption 12
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Fig. 4.17. Ingenioq cabinet, Gubbio studiolo. Extended Caption 13
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Fig. 4.18. Alphabetic mnemonics. Extended Caption 14
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Fig. 4.19. Cabinet with hunting horn, Gubbio studiolo. Extended Caption 14
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Fig. 4.20. Tau-shaped tuning key, Gubbio studiolo. Extended Caption 14
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Fig. 4.21. Cipher of Gramatica. Extended Caption 14
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Fig. 4.22. Superimposition of human and building profiles.
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Fig. 4.23. The Tempio Malatestiana, Rimini.
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Fig. 4.24. Sarcophagus of Sigismondo Malatesta, Tempio Malatestiana.
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Fig. 4.25. Superimposition of fortress and human body. Extended Caption 15
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Fig. 4.26. Drawing of medal.
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Fig. 4.27. Papagalli and cage, Urbino studiolo. Extended Caption 16
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Fig. 4.28. Papagallo and birdcage, Gubbio studiolo. Extended Caption 16
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Fig. 4.29. Image of a spinning birdcage. Extended Caption 16
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Fig. 4.30. The reticulated grid became a "dominant" feature of medieval mnemonics.
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Fig. 4.31. Federico and Guidobaldo listening attentively to an oration.
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Fig. 4.32. Ornament in the cubiculum from the villa of P. Fannius Synistor, ca. 50-40 BCE.
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Fig. 4.33. Sevenfold flowers, thistle-like artichokes and pomegranates in an intarsiated cushion at Urbino.
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Fig. 4.34. Detail from Piero della Francesca's Brera Altarpiece.
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Fig. 4.35. St. Augustine among the illustrious men in the Urbino studiolo.
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Fig. 4.36. Image of hooked fish, after marginalia in The Hours of Catherine of Cleves.
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Fig. 4.37. Enlinked pretzels, after marginalia in The Hours of Catherine of Cleves.
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Fig. 4.38. "Chain" border detail from cabinets at Gubbio.
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Fig. 4.39. Drawing of a fortified city on a hill.
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Fig. 4.40. A concentric combinatorial memory wheel. Extended Caption 17
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Fig. 4.41. Astrolabe and armillary sphere, Urbino studiolo. Extended Caption 17
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Fig. 4.42. Triple hoist mechanism carved by Ambrogio Barrocci after drawing by Francesco di Giorgio. Extended Caption 18
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Fig. 4.43. Column hoist carved by Ambrogio Barrocci after drawing by Francesco di Giorgio.
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Fig. 4.44. "Unfinished" façade of Urbino's ducal palace.
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Fig. 4.45. Superimposition of human and building profiles. Extended Caption 19
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Fig. 4.46. Detail of The Effects of Good Government.
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Fig. 4.47. East wall of Urbino studiolo.
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Fig. 4.48. Piazza del Foro, Rimini. Extended Caption 20
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Fig. 6.1. Federico da Montefeltro in the robes of a humanist scholar.
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Fig. 6.2. The city of Urbino and the ducal palace.
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Fig. 6.3. The turrets of the ducal palace.
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Fig. 6.4. Axonometric detail of the Urbino ducal palace.
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Fig. 6.5. View from loggia, outside Urbino studiolo.
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Fig. 6.6. The subterranean stables at Urbino's ducal palace.
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Fig. 6.7. Access from the stables to the duke's thermal bath (left) and private stairtower (right).
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Fig. 6.8. The waters of the thermal bath were heated by a kitchen fireplace on the other side of the wall.
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Fig. 6.9. Scopetta, north wall, Urbino studiolo.
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Fig. 6.10. The duke's private spiral staircase.
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Fig. 6.11. Entrance to the Tempietti.
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Fig. 6.12. Entrance to Capella del Perdono.
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Fig. 6.13. Capella del Perdono, from entrance.
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Fig. 6.14. Detail of The Effects of Good Government. Extended Caption 22
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Fig. 6.15. Cabinet with hunting horn, Gubbio studiolo. Extended Caption 22
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Fig. 6.16. Tau-shaped tuning key, Gubbio studiolo. Extended Caption 22
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Fig. 6.17. The portraits of the muses conceived for the Tempietto.
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Fig. 6.18. Window seat in the duke's dressing room.
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Fig. 6.19. Urbino studiolo from Federico's entrance.
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Fig. 6.20. Petrarch, among the illustrious men in the west wall of the Urbino studiolo.
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Fig. 6.21. St. Jerome, among the illustrious men in the north wall of the Urbino studiolo.
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Fig. 6.22. A passageway connecting the duke's and duchess's quarters.
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Fig. 6.23. Triple hoist mechanism carving. Extended Caption 23
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Fig. 6.24. "Unfinished" façade of Urbino's ducal palace. Extended Caption 23
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Fig. 6.25. The second "wing" of the entry façade. Extended Caption 23
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Fig. 6.26. Sala del Conversazione. Extended Caption 23
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Fig. 6.27. Column hoist carving.
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Fig. 6.28. Clavichord, inlaid with metal strings, Urbino studiolo.
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Fig. 6.29. View to southeast corner of Urbino studiolo.
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Fig. 6.30. Detail of the virtues from the Allegory of Good Government.
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Fig. 6.31. Double Portrait of Federico and Guidobaldo da Montefeltro.
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Fig. 6.32. Close proximity of olive branch and greave (peace and war).
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Fig. 6.33. Intarsiated figures of Apollo and Minerva.
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Fig. 6.34. Illustrious men, north wall, Urbino studiolo.
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Fig. 6.35. Illustrious men, east wall, Urbino studiolo.
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Fig. 6.36. Illustrious men, south wall, Urbino studiolo.
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Fig. 6.37. Illustrious men, west wall, Urbino studiolo.
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Fig. 6.38. Note in northwest wall of Gubbio studiolo.
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Fig. 6.39. Axonometric detail of the Urbino ducal palace.
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Fig. 6.40. The salon d'udienza (audience chamber).
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Fig. 6.41. The cubiculum from the villa of P. Fannius Synistor, 50-40 BCE.
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Fig. 6.42. Mnemonic ornament from the cubiculum from the villa of P. Fannius Synistor, 50-40 BCE.
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Fig. 6.43. Drawing of St. Jerome in His Study.
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Fig. 6.44. Operable intarsia panels folded open, Urbino studiolo.
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Fig. 6.45. Reconstruction of lectern arrangement.
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Fig. 6.46. Worm's eye view of two station points for appreciating Federico's faithfulness.
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Fig. 6.47. Images of Faith, personified and symbolized in south wall, Urbino studiolo.
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Fig. 6.48. Inkwell with letters FEDE and rosary above, in south wall, Urbino studiolo.
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Fig. 6.49. Box-drawers in northwest corner of Urbino studiolo.
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Fig. 6.50. Box-drawers in northwest corner of Urbino studiolo.
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Fig. 6.51. Image of ermine and phrase "non mai," Gubbio studiolo.
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Fig. 6.52. Leonardo da Vinci's portrait of Cecilia Gallerani.
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Fig. 6.53. Detail of "virtutibus itur ad astra," north wall, Urbino studiolo.
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Fig. 6.54. Cardinal Bessarion, among the illustrious men in the south wall of the Urbino studiolo. Extended Caption 24
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Fig. 6.55. Pletho's sarcophagus, ensconced in the southwest wall of the Tempio Malatestiano.
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Fig. 6.56. Papagalli and mechanical clock, Urbino studiolo.
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Fig. 6.57. Hourglass, Urbino studiolo.
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Fig. 6.58. Ingenioq cabinet, Gubbio studiolo.
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Fig. 6.59. Bench along palace façade. Extended Caption 25
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Fig. 6.60. Palace bench, continued. Extended Caption 25
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Fig. 6.61. Portrait of Fra Luca Pacioli. Extended Caption 25
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Fig. 6.62. The 72-sided Hebdomicontadissaedron. Extended Caption 25
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Fig. 6.63. Formella carving.
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Fig. 6.64. Hunting horn suspended in the Gubbio studiolo.
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Fig. 6.65. Monochord.
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Fig. 6.66. Albrecht Dürer's demonstration of perspectival composition. Extended Caption 26
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Fig. 6.67. Clavichord, Urbino studiolo.
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Fig. 6.68. Southeast corner of Urbino intarsia, with miniature studiolo at left and an organ at right.
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Fig. 6.69. Juhani Castelano, Florentine organ-maker.
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Fig. 6.70. The jingle ring evokes Erato, muse of lyric and love poetry.
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Fig. 6.71. Rebec and its bow, partially obscured behind a cabinet door.
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Fig. 6.72. The military instruments of the pipe and tabor, Gubbio studiolo.
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Fig. 6.73. Intarsiated and burnished score of Bella gerit, Urbino studiolo.
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Fig. 6.74. Intarsiated and burnished score of J'ay pris amour, Urbino studiolo.
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Fig. 6.75. Carpaccio's sketch of a monk listening to musicians tuning up in a studiolo.
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Fig. 6.76. Chess pieces, Urbino studiolo.
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Fig. 6.77. Order of the Garter, Gubbio studiolo. Extended Caption 27
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Fig. 6.78. Ceiling of quarters reserved for the King of England, in the Urbino ducal palace. Extended Caption 27
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Fig. 6.79. Detail from ceiling of the King of England's quarters. Extended Caption 27
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Fig. 6.80. Francesco di Giorgio asserted that music is necessary for the conference and proportion of any building.
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Fig. 6.81. Leonardo's architectonic interpretation of the heart as a furnace.
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Fig. 6.82. Heptagonal diagram after figure at Urbino studiolo. Extended Caption 28
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Fig. 6.83. Bench wheels, Urbino studiolo. Extended Caption 29
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Fig. 6.84. Federico on biga with cardinal virtues. Extended Caption 29
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Fig. 6.85. Civic space, east wall of Urbino studiolo.
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Fig. 6.86. Ideal city, painted at Urbino, late quattrocento.
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Fig. 6.87. Lute with broken strings, Urbino studiolo.
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Fig. 6.88. North corner of Gubbio studiolo.
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Fig. 6.89. Federico's helmet and scepter, Gubbio studiolo. Extended Caption 30
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