Elisabetta Gonzaga, daughter of Federico I Gonzaga, Marquess of Mantua, and wife of Duke of Urbino, Guidobaldo da Montefeltro, son of Federico II da Montefeltro, was a leader and salonnière*, lover of art, hunting and literature. In 1488 she married Guidoblado, condottiero who fought the French under Charles VIII in Romagna 1496 and Venice. During his absence Elisabetta governed Urbino and presided over their salon. In 1502 Guidobaldo was forced to flee when Cesare Borgia, illegitimate son of Pope Alexander VI, occupied Urbino and tried, unsuccessfully, to annul the marriage of Elisabetta and Guidobald. After the death of Pople Alexander VI and the waning of Borgia’s power, the couple was able to restablish in Urbino.
Although knowing that her husband was impotent and even if it was one of her main preoccupations, she maintained her loyalty and affection and refused to divorce him. This fact probably made her sensitive and interested into symbolisms, astrology and amulets, as the S of the Scorpio zodiac sign or the myth of Danae, who miraculously was impregnated by Zeus’ golden rain.
As they were heirless, in 1504 they adopted Francesco Maria I Della Rovere, the son Guidobaldo’s sister, as successor to the dukedom. Following Guidobaldo’s death in 1508, Elisabetta continued as regent until Francesco came of age, who changed the ruling dynasty to the name of della Rovere’s family. Elisabetta Gonzaga died in 1526.
Andrea Mantegna (1431 - 1506): intarsia of Mantua (Morte della Vergine); Triumph of the Virtuses. Famous painter with great perspective and beautiful naturalistic asthetic of mythological subjects. Court artist of the Gonzaga family in Mantua and painter of Isabella d’Este’ studiolo.
Albrecht Dürer (1471 - 1528): intarsia designs and ceiling knots pattern.
Printmaker in rich communication with Italy. Gothic aesthetic and secular, allegorical, creations he provides a fantastic imagery ideal for the ceiling and the intarsia themes.
Leonardo da Vinci (1452 - 1519): Sant’ Anna, la Madonna, il Bambino; ceiling; main supervision. The polymath, painter, sculptor, designer par excellence, ideal for consulting as technical, architectural and hydraulic expert..
Raffaello Sanzio (Urbino 1483 - Rome 1520): Portraits of the Dukes; Galatea; St. Cecilia; The most important portraitist of the early 16th century. Beautifull lyrical sweetness and gentle faces that reveal the human sentiments in sublime perfection and serenity.
Vittore Carpaccio (1465 - 1520): The Meeting of Ursula and the Prince.
Venetian painter praised for his organization and narrative skills in his panoramic depictions of pageants and public gatherings. Wealth of realistic details, figures in coherent perspective space.
Raffaele da Brescia (1479 - 1539): craftsman; execution of Dürer, Leonardo and Raphael designs.
Michelangelo Buonarotti (1475 - 1564): marble floor and Bacchus in garden. Sculptor, painter and architect who worked in marble medium all his life. Modeling close to the formulas of classical antiquity, with simplified geometry suitable to the huge scale with assertion of organic life and asymmetry.
The iconography of the studiolo is inspired by the elements of Astrology and the goddess Artemis/Diana. The four walls represent also two phases and aspects of Elisabetta’s life stages: her life as wife and ruling fugure as Duchess of Urbino, her vita activa; and her more bucolic life as lover of the arts, hunting and literature, her vita contemplativa. The religious and the secular, the classic and contemporary of the time are put in a dynamic association.
Artemis is accompanied by her Nymphs, representing the wild nature, seas, animals, the hunt, and vegetation. She was also thought to be the protector of childbirth, an important issue present in Elisabetta’s life.
Taking from the Theory of Humors, the studiolo is divided by Elements and Ages.
This subdivision can be seen in a vertical axis from the floor to the ceiling colors; and perimetrically in the wall paintings, intarsia and objects decoration:
Air and Infancy: Ceiling and South wall.
Fire and Youth: Paintings’ Level and East wall.
Earth and Adulthood: Intarsia and North wall.
Water and Old Age: Floor and West wall.
The ceiling represents the sky and the element of air, based on the concept of astrology and its elements. Made in wood and separated in panels, it has a common deep dark blue and gilded lines representing the stars, the constellations and the geometrical patterns. By design of Dürer and Leonardo, the central panel concentrates a rich amount of stars and the initials of the Duchess dispersed. Its following concentric concentric panels are decorated with interwined pattern based on the knot theory. Perimetrical to the four walls, 12 panels represent each zodiac sign in its constellation. Based on the Limbourg Brothers’ Calendar - Labor of the Months;
The floor represents the water, related also with the season of winter. The main material used is blue-grey Carrara marble with a Meander (inspired by the myth of Thetis and Peleus) as border representing the element in two states: ice and fluid. The design and elaboration are made by Michelangelo. The studiolo is connected to an external garden and the sound of the natural source of water can be appreciated. Here is placed the sculpture Bacchus of Michelangelo.
The intarsia represents the earth and is decorated with several symbols and figures related with the vita activa and vita contemplativa of the Duchess and her family.
Under Guidobaldo's portrait there are cupboards with his armor, the Giarrettiera (obtained like his father in 1506) and the mirror previously chosen by Federico da Montefeltro for the Studiolo del Gubbio with the letters G.BALDO.DUX., representing his vita activa and his family duty.
Under the Duchess portrait an engraved window “opens” showing the city of Mantua, recalling her origins, as shown in the Death of the Virgin by Mantegna.
On the Air wall, dedicated also to Infancy, under Leonardo’s painting there is an engraving by Dürer representing the Virgin with the child sitting on a crescent moon in a celestial background, connecting the maternal hopes of Elisabetta with the symbol of Artemis, the Moon (or Selene).
The rest of the intarsia is dedicated to the Tarot representation of the most preferred Liberal Arts and the Muses by Elisabette. More specificly the figures of Euterpe (under St. Cecilia painting), Urania and Terpsichore; and Astrology, Music and Poetry.
Among these, several letters S and little details of scorpions are hidden and placed on the cupboards as symbol of hope for fertility.
- Leonardo di ser Piero da Vinci, The Virgin and Child with Saint Anne, oil on wood, 168 x112, whereabouts (provenance, if available), inv. 776, c. 1501-10. https://www.louvre.fr/en/oeuvre notices/virgin-and-child-saint-anne
Located on the Infancy wall, this painting represents the idea of gentle and genuine idea of maternity, for which Elisabetta is always hopeful.
- Raffaello Sanzio (Raphael), St. Cecilia with Saints Paul, John the Evangelist, Augustine and Mary Magdalen (Ecstasy of St. Cecilia), Oil on wood trasported on canvas, 236x149, Church of San Giovanni Evangelista in Monte, Duglioli dall'Olio Chapel, inv. 577, 1518. https:// pinacotecabologna.beniculturali.it/en/content_page/item/2811
A sacred representation of one of Elisabetta’s passions, music, St. Cecilia lets the reeds of the portative organ slip through her hands as she turns her gaze towards the choir of angels in the sky. In this way she is also looking at the ceiling, the nightsky, looking at the “music” of the stars.
- Raffaello Sanzio (Raphael), Portrait of Elisabetta Gonzaga, oil on panel and 52.9 x 37.4, The Uffizi Galleries (Florence), inv. 1890, no. 1441, c. 1502. https://www.uffizi.it/en/artworks/ portrait-eleonora-gonzaga
Elisabetta is dressing in black, with a gamurra dress in an asymmetrical deisgn, inspired by the heraldic colors of the Montefeltro family. The white neckline has gold letterin in Kufic characters. On her forehead is a jewel (probably a talisman) in the shape of a scorpion - linked in the melothesia theory with the reproductive system, cointaining a diamond - symbol of her faith and intellectual clarity.
- Raffaello Sanzio (Raphael), Guidobaldo da Montefeltro, Technique and 69 × 52cm, Uffizi Gallery (Florence), 1506. https://www.uffizi.it/
The portrait of her husband is placed on the other side of the entrance at the studiolo, as a welcoming presence together with Elisabetta. The presence of his portrait shows her affection as wife, but also respect towards her noble titles and her new Urbino family.
- Vittore Carpaccio, Incontro e partenza dei fidanzati, Technique and 280x611, Venezia, Gallerie dell’Accademia, inv. 575, 1495. http://www.gallerieaccademia.it/incontro-e-partenza-dei-fidanzati
Placed above the entrance of the studiolo and between the portraits of the Dukes, this scene of the Stories of sant’Orsola represents their union as a couple and their families. The Venetian architecture and similarity of the city depicted, brings a common place for the Duchess: for the Duke is the battleground against Charles VIII, and for the Duchess a beloved and always admired city (preferred to Rome). As a fashionable noblewoman this painting offers the opportunity to show her taste and appreciation to the fashion and textiles of the time.
- Andrea Mantegna, Triumph of the Virtues, tempera on canvas ,160 × 192 cm, Musée du Louvre (Paris),1502. https://www.louvre.fr/en
Placed in the wall dedicated to the element of Earth, the painting represents the intelligence of Minerva eliminating vices, rescuing Diana from being raped by the Centaur, and the presence of the three core moral values of the human being: Justice, Temperance and Fortitutde. In this way Elisabetta portrays herself both her character as ruling figure of Urbino and her similarities protrayed in Minerva and Diana.
- Raffaello Sanzio (Raphael), Triumph of Galatea, fresco, 139x101cm, Villa Farnesina (Rome), 1512. http://www.villafarnesina.it/.
This painting is located in the wall of Water. Galatea, one of the most beloved Nereids, fell in love with the mortal Acis and his rival the Cyclops Polyphemus killed him, whom then she transformed into a river. The painting connects thematically with the Nymphs and Artemis representations, as well as with the garden behind the specific wall, where the water source is.
Sculptures
- Unkown, Sleeping Cupid, bronze, partly gilded, 22.5 × 19.7 × 19.1, Metropolitan Museum (New York) (Stroganov Family , St. Petersburg, until 1931), inv. 51.175, early 16th century. https://www.metmuseum.org/art/collection/search/201375
Placed above the entrance of the studiolo, between the portraits of the Dukes, this sleeping Cupid represents their patient and genuine love.
- Style of Andrea del Verrocchio, Reclining Putto, bronze, 19.4 × 31.6 × 15.6 cm, whereabouts (Luigi Grassi, Florence, until 1909), inv. 09.155.1, probably 16th century, after a late 15th century model. metmuseum.org/art/collection/search/191176
This bronze statue is placed on the side of the wall of Infancy, as symbol of the good luck that Elisabetta needed for her to become a mother.
- Unknown, Deer, bronze, on green marble base, 14 cm, Metropolitan Museum (New York) (Ogden Mills, until 1924), inv. 24.212.2, late 15th century. metmuseum.org/art/collection/ search/195178
Placed in the wall of Adulthood and under the painting by Mantegna, the deer represents Diana (Artemis) as the goddess that identifies Elisabetta's character as lover of the wild nature and hunting. The deer also symbolises the values of honor, love, kindness, mercy, generosity, grace, piety and forgivenes.
- Uknown, Resting Hercules, bronze, 41.6 x 38.4 cm, The Cleveland Museum of Art (E.G. Raphael , London, until 1945; Ferdinando Adda , Cannes, until 1965; Irwin Untermyer, until 1968), inv. 68.141.18, last quarter 15th century. metmuseum.org/art/collection/ search/204852
Placed where the Water wall, being also the Old Age wall, this figure shows the way strengh and endurance, even of the strongest character, have their ending time. He is also resting while listening the sound of the water running outisde the window.
- Michelangelo Buonarroti, Bacchus, marble, Bargello Museum inv. Bargello n. 10 S, 1496-1497. https://www.bargellomusei.beniculturali.it/opere/bargello/90/bacco/
Bacchus in his relaxed posture, welcomes the visitor to the garden, where the water, nature and fruit trees are create a rich sensorial experience.
Objects
- Adriano Fiorentino, Medal of Elisabetta Gonzaga (obverse and reverse), cast bronze, 83mm, Victoria and Albert Museum (London), inv. A.204-1910, 1495. https://collections.vam.ac.uk/item/O93597
Her image wearing a pearl necklace is symbol of her chastity, honesty and virtues as new young wife of the Duke of Urbino.
On the reverse her representation as Danae, shows her hope of the divine miracolous of pregnancy to happen.
- Giancristoforo Romano, Isabella d’Este, bronze, 3.93 cm, National Gallery of Art (Gustave Dreyfus [1837-1914], Paris; Duveen Brothers, Inc. until 1944; Samuel H. Kress Foundation, New York, until 1957) inv. 1957.14.669.a, 1507. http://nga.gov/collection/art-object-page.44448
This medal placed under the painting of Mantegna represents the strong beautiful frienship linking Elisabetta Gonzaga and Isabella d’Este.
- Unknown, Cupid holding a candle socket, bronze, traces of brown lacquer patina; marble base,14 × 7 × 7.3 cm, Metropolitcan Museum (New York) (J. Pierpont Morgan; Michael Friedsam, until 1931), inv. 32.100.177, early 16th century. metmuseum.org/art/collection/ search/197055
This Cupid located near the portraits of the Dukes, on the wall of Fire brings the light of the candle close to the couple, symbolising their love and youth.
- Unknown (probably Desiderio da Firenze), Incense burner, bronze, 37.5 cm, Metropolitan Museum (New York) (George and Florence Blumenthal, until 1940), inv. 41.100.78a–d), 16th century. metmuseum.org/art/collection/search/198743
Placed in the base of the wall of Air, this incences burner invites the guest to feel this element from her/his own sense of smell and the smoke leaving the room through the window will direct the gaze towards the garden.
- Fragment, Silk velvet woven with metal threads, 30 x 20 cm, Victoria and Albert Museum, inv. 1339-1864, ca. 1450-1500 (made). http://collections.vam.ac.uk/item/O130054/ - Fragment, Silk, metal thread, 33 x 31.1 cm, Metropolitan Museum (new York) (Nanette Rodney Kelekian , New York, until 2002), inv. 2002.494.599, late 15th century. metmuseum.org/art/ collection/search/230621
As true lover of quality, fashion and beautiful textiles, inspired by Venezia, Elisabetta adds on the walls next to the paintings related to the seasons of Autumn and Spring, haning silks and velvelt cuts to create a warmer and richer environment. With this element, the sense of touch is also welcomed in the experience of the studiolo.