Both commissioned by Duke Federico da Montefeltro, the Urbino Studiolo (executed between 1473 and 1476) and the Gubbio Studiolo (executed between 1479 and 1482 and kept in Gallery 501 at the Metropolitan Museum in New York since 1996) are so similar to seem identical, even if only in appearance. By focusing on the decorative apparatus, in fact, the presence of hallmarks is evident. In this sense a decisive role is played by the analysis of the coffered finishing that, being present both in Urbino and Gubbio, reveals substantial differences (mainly due to the variety in the spatial organisation). Although it regards a delimited part, the analysis of the Gubbio Studiolo (from compositional, constructive and material points of view), underlines the integration between scientific aspects (such as the careful geometrical planning) and artistic ones (such as the introduction of illusionistic devices), that perfectly summarise the principles of mathematical humanism advocated by the Montefeltro court.
Gubbio; geometria; arte; spazio illusorio; disegno