Urbino

De Vere.

Lives of Vicenzio da San Gimignano and Timoteo da Urbino.

Timoteo della Vita, Painters.

Having now to write, after the life of the sculptor Andrea de Fiesole, the lives of two excellent painters, Vicenzio da San Gimignano of Tuscany and Timoteo da Urbino, I propose to speak first of Vicenzio, as the man whose portrait is above, and immediately afterwards of Timoteo, since they lived almost at one and the same time, and were both disciples and friends of Raffaello.

Vincenzio then worked in company with many others in the papal loggia for the gracious Raffaello d'Urbino, acquitted himself in such a manner that he was much extolled by Raffaello and by all the others.

Having therefore been set to work at the Borgo, opposite the palace of Messer Giovanni Battista della Aquila, with great credit to himself he painted on a facade a frieze of Terretta in which he depicted the nine muses with Apollo in the center and above them some lions, the device of the pope, which are held to be very beautiful.

Vincenzio showed great diligence in his manner and softness in his coloring and his figures were very pleasing in aspect.

In short he always strove to imitate the manner of Raffaello d'Urbino, as may also be seen in the same Borgo, opposite to the palace of the Cardinal of Ancona, from the facade of a house that was built by Messer Giovanni Antonio Battiferro of Urbino, who in consequence of the straight friendship that he had with Raffaello received from him the design for that facade and also through his good offers many benefits and rich revenues at the court.

Of the Orsini he had a warning, when after taking Faenza and attacking Bologna, he saw them go very unwillingly to that attack.

And as to the king, he learned his mind when he himself, after taking the Duchy of Urbino, attacked Tuscany, and the king made him desist from that undertaking.

Hence the duke decided to depend no more upon the arms and the luck of others.

For the first time he weakened the Orsini and Colonesi parties in Rome by gaining to himself all their adherents who were gentlemen, by making them his gentlemen, giving them good pay and according to their rank, honoring them with office and command in such a way that in a few months all attachment to the factions was destroyed and turned entirely to the duke.

After this he awaited an opportunity to crush the Orsini, having scattered the adherents of the Colonna house.

This came to him soon and he used it well, for the Orsini, perceiving at length that the aggrandizement of the duke and the church was ruined to them, called a meeting of the Magione in Perugia.

From this sprung the rebellion at Urbino and the tumults in the Romagna, with endless dangers to the duke, all of which he overcame with the help of the French.

Having restored his authority, not to leave it at risk by trusting either to the French or other outside forces, he had recourse to his wiles, and he knew so well how to conceal his mind that by the mediation of Signor Pagolo, whom the duke did not fail to secure with all kinds of attention, giving him money, apparel, and horses, the Orsini were reconciled, so that their simplicity brought them into his power at Sinigalia.

... particularly the defrocked ones.

But anyway, so they, they reach Urbino, um, on the 26th of August and, and, and Sam's thinking, "Brilliant." You know, get our heads down, get some food, get some proper vino, get a bit of food, bit of rest.

You know, because a- as, as recce troops, they're always several hours ahead of the rest of the advance.

That's the whole point.

Confessor First Order.

Sanctus first saw the light of day at Monte Fabra, a little town not far from Urbino, Italy.

Since his parents were among the most prominent citizens of that place, they sent their son to Urbino to pursue higher studies as soon as he had grown to young manhood.

There, as at home, he lived an innocent life and applied himself so diligently to his studies that the highest hopes were entertained concerning him.

When he was 20 years old, an incident occurred that changed the entire course of his life.

through architecture, through music, through literature, and through patronage of some of history's greatest artists and thinkers.

The rulers of these cities like Mantua, Ferrara, and Urbino competed to build the finest palaces, attract the greatest courts and painters, commission remarkable churches, support scholars, and create courts that became the envy of Europe.

Without these ambitious families, the Renaissance, as we know it, would never have happened.

Over the next few episodes, we'll step inside the magnificent palaces, walk through elegant piazzas, and meet remarkable rulers, artists, and architects, and discover how these relatively small cities became cultural powerhouses whose influence spread across all of Europe.

Of the Orsini he had a warning when, after taking Faenza and attacking Bologna, he saw them go very unwillingly to that attack.

And as to the king, he learned his mind when he himself, after taking the Duchy of Urbino, attacked Tuscany, and the king made him desist from that undertaking.

Hence the duke decided to depend no more upon the arms and the luck of others.

For the first thing he weakened the Orsini and Colonnese parties in Rome by gaining to himself all their adherents who were gentlemen, making them his gentlemen, giving them good pay, and according to their rank, honouring them with office and command in such a way that in a few months all attachment to the factions was destroyed and turned entirely to the duke.

After this he awaited an opportunity to crush the Orsini, having scattered the adherents of the Colonna house.

This came to him soon and he used it well, for the Orsini, perceiving at length that the aggrandizement of the duke and the church was ruined to them, called a meeting of the Magione in Perugia.

From this sprung the rebellion at Urbino and the tumults in the Romagna, with endless dangers to the duke, all of which he overcame with the help of the French.

Having restored his authority, not to leave at risk by trusting either the French or the outside forces, he had recourse to his wiles, and he knew so well how to conceal his mind that, by the mediation of Signor Pagolo, whom the duke did not fail to secure with all kinds of attention, giving him money, apparel and horses, the Orsini were reconciled, so that their simplicity brought them into his power at Sinigalia.

Our next sermon is entitled Blessed Serafina Sforza.

Seraphina, who belonged to the family of the Counts of Urbino, became an orphan at an early age.

Her maternal uncle, Prince Colonna, undertook to raise the child.

During her stay in Rome, the girl's noble disposition unfolded itself like a flower.

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For more information or to volunteer, please visit LibriVox.org Lives of the Most Eminent Painters, Sculptors, and Architects, Volume 5 by Giorgio Vasari Translated by Gaston de C. de Vere Lives of Vicenzio da San Gimignano and Timoteo da Urbino Timoteo della Vita Painters

PaintersHaving now to write, after the life of the sculptor Andrea de Fiesole, the lives of two excellent painters, Vicenzio da San Gimignano of Tuscany and Timoteo da Urbino, I propose to speak first of Vicenzio as the man whose portrait is above, and immediately afterwards of Timoteo, since they lived almost at one and the same time and were both disciples and friends of Raffaello.

Vicenzio, then, working in company with many others in the Papal Loggia for the gracious Raffaello da Urbino, acquitted himself in such a manner that he was much extolled by Raffaello and by all the others.

Having therefore been set to work at the Borgo, opposite the palace of Messer Giovanni Battista dell'Aquila, with great credit to himself he painted on a facade a frieze of terretta in which he depicted the nine Muses with Apollo in the center and above them some lions, the device of the Pope, which are held to be very beautiful.

Vicenzio showed great diligence in his manner and softness in his coloring, and his figures were very pleasing in aspect.

In short, he always strove to imitate the manner of Raffaello da Urbino, as may also be seen in the same Borgo, opposite to the palace of the Cardinal of Ancona, from the facade of a house that was built by Messer Giovanni Antonio Battiferro of Urbino, who in consequence of the straight friendship that he had with Raffaello received from him the design for that facade, and also through his good office many benefits and rich revenues at the Court.

In this design, then, which was afterwards carried into execution by Vicenzio, Raffaello drew, in allusion to the name of Battiferri, the Cyclopes forging thunderbolts for Jove, and in another part Vulcan making arrows for Cupid, with some most beautiful nudes and other very lovely scenes and statues.