Fig. 6.47. Images of Faith, personified and symbolized in south wall, Urbino studiolo.

Spiral stairs, Urbino: the duke’s descent and ascent

Fig. 6.84. Federico on biga with cardinal virtues, drawn by Amelia Amelia after Piero della Francesco.

Fig. 6.25. The second “wing” of the entry façade.

Fig. 2.17. Hope, north wall, Urbino studiolo.

Fig. 2.6. Illustrious men at north wall of Urbino studiolo.

Fig. 4.39. Arca is a term Isidore of Seville links with arx, “one of the family of storage-room metaphors for memory” that represents, according to Carruthers, a visual pun “on the Temple citadel of Ezekiel, the ‘city on a hill’ in Matthew, and the Johannine ‘Heavenly Jerusalem'" (Isidore, Etymologiae, 15.2; also Carruthers, Craft of Thought, 19, 281 n. 31). The first image in Publicius’ Art of Memory, illustrating rules for places, depicts a fortified city on a hill. Romberch included such an image in his 1533 treatise. Publicius underscores the value of etymology, onomatopoeia and other forms of wordplay for the selection of memory images (Art of Memory, 21–22). Drawn by Amelia Amelia after Romberch's rendering of Publicius.

Fig. 6.33. Intarsiated figures of Apollo and Minerva in the sala degli angeli.

Fig. 2.5. View of ceiling and gallery of 28 illustrious men, Urbino studiolo.

Fig. 4.15. Gramatica XXI drawn by Amelia Amelia after traditional Tarocchi di Mantegna.

Fig. 6.7. Access from the stables to the duke’s thermal bath (left) and private stairtower (right).

Urbino Caffé

Fig. 2.56. Basket with fruit, Urbino studiolo.

Fig. 6.5. View from loggia, outside Urbino studiolo.

Fig. 2.1. Battista Sforza and Federico da Montefeltro, drawn by Amelia Amelia after Piero della Francesca’s portraits of the duchess and duke of Urbino.

Fig. 6.60. Palace bench, continued.

Fig. 2.29. Operable intarsia panels folded open, Urbino studiolo.

Fig. 6.61. Portrait of Fra Luca Pacioli (1495) by Jacopo de’ Barbari, drawn by Amelia Amelia.