Federico da Montefeltro

One of the most frequently commented upon paintings in the Uffizi is this elaborate panel painting by Piero della Franscesca

Sadly for the Duke of Urbino, who is portrayed on in this diptych with his  Duchess sometime between 1465-72 the comments are hardly flattering – in fact, more often utterly damning, towards poor Federico’s facial beauty!

And the compliments don’t readily flow in relation to the beauty of his wife Battista Sforza either -who is probably not looking at her best in this pale profile picture, which is believed to have been painted after her death in memorial tribute to their successful marriage.

Although Renaissance portraits were traditionally always painted in profile – very often on either side of the religious painting that they were sponsoring – it was not long after this portrait that Leonardo da Vinci pioneered the quarter face portrait – which allowed the artist to show more of the character as well as the characteristics of the sitter.

However in this painting the profile view was actually believed to have been the most flattering way of showing the unfortunate Federico, had lost his right eye and part of his nose as the result of a  lance wound,  whilst his wife Battista Sforza had an exceptionally high forehead – so didn’t appear to best advantage in face – forward portraits either.

A later portrait of Federico da Montefeltrowith his son  Guidobaldo (c. 1475), by Pedro Berruguete also portrays the Duke in profile  – evidently a prolific reader, the Duke chose to have himself portrayed reading a vast book,  wearing a soft cloak, his Ermine badge of nobility and the Order of the Garter given to him by the King of England on display below his left knee.

But to ensure that there was no suggestion that this mighty warrior had “gone soft” with his interest in Humanism – he has his full armour on under his cloak, the necklace of the military Order of the Ermine, a sword hanging at his side and his helmet and baton are ready for action should the need arise!

Sadly Battista had died shortly after giving birth to Guiodobaldo – having already born six daughters the final arrival of the long-awaited son and heir proved too much for her.

Nonetheless, her heritage to her daughters was a  serious education like her own and her granddaughter was none other than the poet Vittoria Colonna, who became the object of a passionate friendship with Michelangelo, who aged  61-years wrote some of his most famous love sonnets to her.