DOI Page / Citation link:
https://doi.org/10.11588/diglit.36838#0127
76 COUNT BALDASSARE CASTIGLIONE
infinite number of great men whose names will be
celebrated for all time/
The death of Duke Federico and that of his
architect Laurana in the following year, naturally
interrupted the progress of the ducal palace, and
Guidobaldo s enforced absence from home and lack
of money seriously interfered with its completion.
But he made several important additions to the fabric,
and took especial interest in the decoration of the
interior, which, Baldi tells us,^ became much richer
and more sumptuous during his reign, ' being
adorned with gilding and colour and inlaid panelling/
He built a new and larger studio for his own use
on the ground-floor, and employed Timoteo Yiti to
decorate its walls with frescoes of Pallas and Apollo
and the Muses. A chapel enriched with stucco and
coloured marbles was also Guidobaldo s work, as well
as a new and spacious hall for the game of palla,
which, although he was unable to take part in it him-
self, he liked to watch.
Francias pupil, the Urbino master, Timoteo Yiti,
mentioned above, returned from Bologna in 1495 to
succeed Giovanni Santi as court-painter and become
the teacher of his son Raphael. Several works by
Timoteo's hand are preserved at Urbino ; amongst
others an altar-piece, in which Guidobaldo and Bishop
Arrivabene are seen kneeling before St. Martin and
St. Thomas. This picture, now in the Cathedral
sacristy, was painted after the death of Bishop
Arrivabene in 1504, for the chapel of St. Thomas
a Becket in the Duomo which this prelate had
endowed.
Both Guidobaldo and his wife shared the passion
for antiques that was prevalent in their age, and
i Baldi, p. 574.
infinite number of great men whose names will be
celebrated for all time/
The death of Duke Federico and that of his
architect Laurana in the following year, naturally
interrupted the progress of the ducal palace, and
Guidobaldo s enforced absence from home and lack
of money seriously interfered with its completion.
But he made several important additions to the fabric,
and took especial interest in the decoration of the
interior, which, Baldi tells us,^ became much richer
and more sumptuous during his reign, ' being
adorned with gilding and colour and inlaid panelling/
He built a new and larger studio for his own use
on the ground-floor, and employed Timoteo Yiti to
decorate its walls with frescoes of Pallas and Apollo
and the Muses. A chapel enriched with stucco and
coloured marbles was also Guidobaldo s work, as well
as a new and spacious hall for the game of palla,
which, although he was unable to take part in it him-
self, he liked to watch.
Francias pupil, the Urbino master, Timoteo Yiti,
mentioned above, returned from Bologna in 1495 to
succeed Giovanni Santi as court-painter and become
the teacher of his son Raphael. Several works by
Timoteo's hand are preserved at Urbino ; amongst
others an altar-piece, in which Guidobaldo and Bishop
Arrivabene are seen kneeling before St. Martin and
St. Thomas. This picture, now in the Cathedral
sacristy, was painted after the death of Bishop
Arrivabene in 1504, for the chapel of St. Thomas
a Becket in the Duomo which this prelate had
endowed.
Both Guidobaldo and his wife shared the passion
for antiques that was prevalent in their age, and
i Baldi, p. 574.