1
Eguia
Michelle Eguia
Professor Ptak
Objects as History
2 December 2013
Contemplative Spaces: Gubbio Studiolo
Running along the sides of the Gubbio Studiolo there is a Latin inscription along the frieze that reads, "See how the eternal students of the venerable mother, men exalted in learning and in genius…prevails over justice and none repents for having yielded to his foster mother" (Fund). The Gubbio Studiolo is located in the Ducal Palace in the Italian city of Urbino in the Marche (Fund). It is as an articulated room crafted with beautiful detail and created for the purpose of studying and meditating. Federico de Montefeltro, duke of Urbino, commissioned it around 1476, and it was made in the 15th century possibly designed by Francesco di Giorgio Martini and finalized by Giuliano da Maiano (Fund). It is constructed out of walnut, beech, rosewood, oak, and fruitwoods in walnut base, and the paneling on this room stands to be 15 feet 10 15/16 inches in height, 16 feet 11 15/16 inches in width, and 12 feet 7 3/16 inches in depth (Fund).Certainly, the size of the room speaks vastly of itself and surely serves the symbolic purpose of this space.
The construction of the Gubbio Studiolo and its meticulous, exclusive layout were devised using a method called Intarsia, which is aunique wood-inlay technique (Raggio 3). On the other hand, the doors of the cabinets show more of a linear perspective. Overall, the 3-dimensional aspectsof the doors, paneling, and the furniture were proposed so the audience would think that all the facets of this room were realistic. The lifelike method is known as Trompe L’oeil in French, which translates into “fool the eye.”
In regards to the general visual aspect of this room, I find the Gubbio Studiolo to be a picturesque creation overflowing with detail and symbolism. The trompe l’oeil method used when constructing this space allows one to look in detail and in appreciation to the effort and talent put into this piece (Raggio 3). In addition to the dimensions of the room and how it was laid out, every detail was accounted for and that speaks highly of the care and purpose of every aspect to this area. Indeed, even the compartments holding educational tools from this time were painted with such clarity to specific fields. For example, in one of the cabinets one is able to see “a plumb bob and set square hanging from a peg as well as a sandglass, cittern, and a pair of dividers” (MET 3). In this example, all five of these tools coincide with proportion and measurement. In another instance, there is a cabinet that holds “an armillary sphere, an astronomical instrument, hanging by an ivory or wooden handle…accurately depicting the Ptolemaic system that placed earth at the center of the universe” (MET 4). As demonstrated, many of the shelves and cabinets depict tools used in mathematics, geometry, and architecture because of Montefeltro’s love of the liberal arts.Simply, it holds true that “the decorative program of the Gubbio Studiolo signifies the pursuit of humanist interests and virtues” (MET 2). One can incontestably see the realistic persona the educational aspect this room holds.
This room played a significant role in defining Montefeltro as a duke, someone of high standing. The space most certainly speaks of importance due to the large dimensions of the room.It is spatially interesting to the eye in regards to the color used and the detailing.With its placement inside the Ducal Palace in the Italian city of Urbino, I believe it served a significant purpose. As an illustration, it presented Montefeltro as a scholarly individual with his love of the liberal arts; in addition, it helped to depict him as a warrior and wise governor with the painted display of his armor, equipment, and insignia in the cabinets of the studiolo. Thus, the visual and spatial appearance to the Gubbio Studiolo brings attention to the personality and character of Federico de Montefeltro and undoubtedly shines a light on what this duke found of high importance at his time.
Equally important, the walls of this room are rich with symbolism. For instance according to the Metropolitan Museum of Art, one is able to find Montefeltro’s exquisite coat of armsinvolving:
A horseface shield surmounted by a coronet and flanked by the initials FE DUX, the whole encircled by a wreath of oak leaves. The shield is composed of alternating diagonal gold bands and blue stripes, with a small black eagle in its ‘honor point’ signifying the 1228 investiture by the Holy Roman emperor of the counts of Montefeltro. The shield is quartered by the large crowned black eagle in a gold field of the city of Urbino, and the central vertical stripe bears the insignia of Federico's position as a standard bearer of the church—the crossed and tied gold and silver keys of Saint Peter surmounted by the papal triple tiara (12).
Not only does this insignia come to represent Montefeltro as a warrior, there are more significant emblems painted on the walls such as: the duke’s family and symbolic references toward the government, innocence and purity, preparedness towards war, and many more. Among these is an olive tree illustrating “a traditional representation of peace, symbolizing the accord brought by wisdom in government and by vigilance in war” (MET 18). It is these very references toward war, the Italian government, and the peace among Montefeltro’s city that come to symbolize the duke’s life, his choices, and his legacy. Foremost among these illustrations is the Order of the Garter, which is placed in the center of the main wall. According to the Metropolitan Museum of Art, this symbol is the most prominent and personal to the duke, and it was this garter and the insignia of the order that was given to him by the English ambassador at the abbey of Grottaferrata, near Rome (20). The importance of certain symbols and drawings surely commemorate what this leader has accomplished in his lifetime and what he is remembered for.
Culturally, I believe this room came to be a space where Montefeltro could live up to his family’s expectations in addition toexisting as a place of remembrance ofhis grandfather’s and father’s honors. This room is fully filled to emphasize the legacy his family left and Montefeltro’s love of learning. And historically, the room itself gravitates toward being a place of academics and concentration, as well as, a space constructed to praise and remember a high standing leader and his virtuous interests. Certainly, this remarkable areabreathes the life of a high leader.
The Gubbio Studiolo addresses the theme of contemplative space with its aura of meditation, reflection, and studying. Indeed, this space was created for the purpose of concentrating on one’s studies and relaxation. The mere work among the wall is superior and realistic, hence one should not only come to see the Gubbio Studiolo but should absorb and reflect upon the work, the details, and the representation of Federico de Montefeltro’s choices, honors, and life story. It is the atmosphere of this space, the tremendous display of artistry, and the life lead by Duke Federico de Montefeltro that intertwine to transform this room into the extraordinary Gubbio Studiolo.
For a contemporary comparison, I find the New York Public Library identifies as the counterpart to the renowned studiolo. The New York Public Library came about with the conjunction of the Astor, Tilden, and Lenox Libraries in New York City. The main building, which is located on Fifth Avenue between 40th and 42nd streets, I believe, embodies the same essence as the Gubbio Studiolo. First, the New York Public Library is foremost a library, a place for learning, researching, and studying. In addition, it is a space of peace and quiet,and overall a tool to gaining knowledge. In relation to the Gubbio Studiolo, both of these spaces were created for meditation and studying. This is evident in the computers available to the public, as well as, the numerous tables, lighting, and access to thousands of books full of knowledge. This hall requests silence and advocates concentration and research, and with numerous students studying here daily, the atmosphere encourages a love to learn and allows these students to excel in their studies. The grand hall at the Library certainly promotes a space of learning and education. Additionally, both the Gubbio Studiolo and the New York Public Library had sections devoted to science and technology. Montefeltro certainly advocated learning and had several cabinets in his studiolo centered on geometry, architecture, and mathematics, and understandably, the library has a whole section named the Humanities and Social Sciences Library.
Secondly, both the Gubbio Studiolo and the New York Public Library are significant in size. The Gubbio Studiolo’s dimensions emphasize the life of Montefeltro; his achievements; his love of learning;and his family’s legacy. Surely, this duke wanted to draw emphasis on his life and leave his existence to present to others on a grand scale. And in comparison, the New York Public Library is renowned as the second largest public library in the United States. Its main reading hall spans 77 feet wide by 295 feet long, with 50 feet high ceilings. Most definitely, this is a large amount of space filled with thousands of books and educational tools beneficial to the public’s use.Nevertheless, this hall is one of many places one can study. The main building of the New York Public Library expands one block of New York City and has been renovated to fit more books as well as space for individuals to study. Certainly, the sizes of both the studiolo and this public library are significant, whether it is about one’s life or for the beneficial use of the public. The size speaks volumes to the public eye and surely contributes to the main purpose of the space, which is to welcome the public to the possibilities that books, learning, and knowledge can give one.
Lastly, both creations had to undergo a few renovations over the years. The Gubbio Studiolo underwent two renovations before it was installed at the Metropolitan Museum of Art in New York City. Its intarsia panels and polychrome ceiling had to be renovated due its removal and transportation (Wilmering 37). In addition, wax had to be added to the Latin text of the frieze, and when the Metropolitan Museum of Art obtained these pieces in 1939, they had to undergo restoration two more times (Wilmering 39). Similarly, the New York Public Library went under renovation in 1980 to add 125,000 feet of space to its central research library for more bookshelves and future space (Capolino 38). In addition, it had to undergo 50 million dollars worth of renovation in 2007 because of the deterioration of its exterior due to weather and pollution (Capolino 39). In comparison to the New York Public Library, the Gubbio Studiolo stands as a reminder of a high standing duke. The renovations this structure underwent were not for the public’s use but for the public to reimagine and ponder the life of Federico de Montefeltro. The preservation of this room was purposeful in allowing the public to look into the past and appreciate the unique design of Intarsia. Similarly, the New York Public Library’s renovations were purposeful to preserve the very essence of why this library was built in the first place. Its preservation not only helps justify that education should be readily available to the public, but it allows the New York Public Library to stand as a monument of possibilities through academics. Certainly if renovation and conservation did not occur, the Gubbio Studiolo and the New York Public Library would not be the extraordinary, unique creations they are today.
Overall, the significance, the purpose, and the mere creations of the Gubbio Studiolo and the New York Public Library surely are profound and reveal a connection among aged and contemporary pieces. The Gubbio Studiolo stands as a documentation of a duke who surrounded himself with academics and knowledge. His legacy remains preserved at the Metropolitan Museum of Art and is memorialized with articulated detail and symbolism. Similarly, the New York Public Library stands as a landmark of education and wisdom. It is perpetual to New York City and beneficial to the thousands of students and individuals devoted to learning. Both were constructed on a grand scale, and it is evident, whether it was for documentation or for the public good, that their intents live on and are an importance to history and society. In regards to the quote along the frieze, it is seen that knowledge and wisdom do one justice and serve one right “in learning and in genius” (Fund). Indubitably, it is the inquiry of history and the expansion of knowledge that connect the Gubbio Studiolo and the New York Public Library together in being remarkable, academic tools that prevail as contemplative pieces worth not only seeing but appreciating.
Bibliography
Capolino, Remo, and Tim Allanbrook. "The New York Public Library Exterior Restoration." N.p., n.d. Web. 9 Nov. 2013. <
Fund, Roger. "Studiolo from the Ducal Palace in Gubbio." N.p.: n.p., n.d. 1-22. Studiolo from the Ducal Palace in Gubbio | MetMedia | The Metropolitan Museum of Art. Metropolitan Museum of Art, 1939. Web. 09 Nov. 2013. <
"History of The New York Public Library: Building an Architectural Masterpiece." Nypl.org. N.p., n.d. Web. 10 Nov. 2013. <
"Possibly designed by Francesco di Giorgio Martini and Executed by Giuliano da Maiano: Studiolo from the Ducal Palace in Gubbio (39.153)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. 2006)
Raggio, Olga. The Gubbio Studiolo and Its Conservation. Federico Da Montefeltro's Palace at Gubbio and Its Studiolo. Comp. Martin Kemp. Vol. 2. New York, NY: Metropolitan Museum of Art, 1999. Print.
Wilmering, Antoine M. The Conservation Treatment of the Gubbio Studiolo. N.p.: JSTOR, n.d. 37+. The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art. Web. 9 Nov. 2013.