Via Flaminia – All the Way (Part 3)

Welcome to the last of three articles following the ancient Roman road called the Via Flaminia from its start in Rome to its finish in Rimini. If a web search has led you directly to this article, I do recommend you read them in order. You can find the first one here, and the second one here.

The first article discussed the origins of the Roman military roads called “consular roads”, and followed the Via Flaminia from its start in Rome, as far as the ancient town of Carsulae in Umbria.

The second started with a discussion of how the roads were built, and what that means when one is looking for remnants. It then continued with a detailed itinerary through Umbria, including a walk along one of the sections, and a look at the town of Bevagna (ancient Mevania) where the Via Flaminia is the main street. On the way I had some fun using Google Maps satellite imagery to try and find traces of the road that are not obvious at ground level.

So let us continue, but first a look back at where we have come from. The photograph below taken from the hill behind Spello (ancient Hispellum) looks west across the Valle Umbra towards the Monti Martani. The Via Flaminia came up behind the mountains, then, as they turned into mere hills, the road turned right near the modern town of Bastardo and headed for Bevagna.

From Bevagna the road crossed the valley to a place called Forum Flaminii, where the eastern branch of the Via Flaminia rejoined the western.

The Valle Umbra from Spello
Looking west from Spello, across the Valle Umbra towards the Monti Martani. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

Into the Mountains

After Forum Flaminii we must hope that our legionaries were by now feeling fit, because that was the end of the flat territory for a long time. Between Spello and Trevi a gap in the mountains leads to a long valley, heading due north and rising steadily up into the Apennines. A New Zealand friend who understood these things once told me that when you see a long straight valley in a mountain range, you are probably looking at a fault line. The number of earthquakes over the years in this part of Italy suggests that is true here as well.

Passing through the town of Nuceria Camellaria (modern Nocera Umbra), the road climbed into territory that was more and more wild and rugged, eventually crossing the watershed at a place called the Scheggia pass, about 600 metres above sea level. Shortly after this, at a place called Cales (Cagli), the road turned abruptly right, and started on a direct line to the sea, following the valleys of mountain torrents, firstly the River Burano, which flowed into the River Candigliano at a place now called Acqualagna.

I do not yet have any photographs which can give any sense of this, so here is a screenshot from Google Earth, looking north from Scheggia, with the probable course of the Flaminia highlighted to the point where it turns northeast towards the sea.

Google Earth Scheggia Pass to Cagli
Screenshot from Google Earth, showing the probable course of the Via Flaminia at its highest point in the Apennines. Source: Google Earth (click to enlarge).

The Flaminia was now descending quite steeply through a series of narrow valleys and gorges, and it was by no means the first road to follow this very ancient route – the Etruscans, the Umbri and their Neolithic predecessors had all traded salt from the Adriatic into central Italy this way.

Mountains, Tunnels and Bridges

On this stretch, one is struck by the number of ancient survivals there are. Near Cagli, there is a Roman bridge (now called the Ponte Grosso) over the Burano River. I took photographs of this in June 2008 and it was in remarkably good condition, still carrying local traffic.

Ponte Grosso at Cagli in 2008
The Ponte Grosso in Cagli in 2008, still in excellent condition for something two thousand years old. Horseman 45FA large format camera, Fujinon-W 125mm lens, 6x12cm rollfilm back, Fujichrome Velvia 50 film, scanned on a Flextight Precision II film scanner (click to enlarge).

Unfortunately, floods in 2022 caused significant damage, which was unrepaired on a visit in 2024 and remains so still (in 2026), which is the cause of some local concern. Let us hope that the authorities do something about it before another flood or an earthquake makes things any worse.

Ponte Grosso at Cagli in 2024
The Ponte Grosso at Cagli in 2024, showing damage from the 2022 floods. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

After the Burano flows into the Candigliano the river passes through a narrow gorge – the Gola del Furlo – and it is here that one of the most remarkable survivals of the Via Flaminia can be found.

Gola del Furlo
The Gola del Furlo – the road follows the ancient Via Flaminia. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

A narrow lake runs through the gorge, but this would not have been there in ancient times; it is the result of a dam built for a hydro-electric power station in 1922, which is still operating. Above the lake, on a nearly-vertical slope, can be found three parallel passages.

Starting from the outside, the first passage is a ledge cut into the rock, allowing the Flaminia to pass around the outside of a massive outcrop.

Via Flaminia at Gola del Furlo
The ledge at the Gola del Furlo, cut into the rock to create a space for the Via Flaminia. You can see grooves worn into the rock by wheeled traffic. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

Just next to the ledge, you can see a small tunnel, about 8m long.

The "Etruscan" passage
The entrance to the small tunnel. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).
The "Etruscan" tunnel from the other end.
The small tunnel from the other end, showing how short it is, and how its purpose is simply to allow better access to the rock ledge. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

And then, furthest from the gorge, is a large modern-looking road tunnel, about 40m long and 6m high.

The large tunnel
The largest tunnel, with the modern road going through it. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

While many of the historical details of these three passages are clear, some things are less so and sources can be a little contradictory. Here is what I think is a plausible sequence.

Firstly, there must have been some way around the outcrop in the very earliest days of salt trading – the Bronze Age or even Neolithic – otherwise there would not have been a road here at all. This would presumably have taken the form of a narrow natural ledge.

At some point the smaller tunnel was cut, to get past a particularly difficult section. Some sources say this was Umbro-Etruscan (perhaps 4th Century BC), while others date it to the initial construction of the Flaminia in the 3rd Century BC. However signage at the site suggests that it was a temporary fix made during the upgrade of the Flaminia during the reign of Augustus (27 BC – 14 AD).

Then Roman engineers widened the existing narrow path by building retaining walls to extend it out from the cliff edge, and laying flagstones to protect the softer limestone of the mountain from being worn away by the road traffic. This extension would have needed constant maintenance. If the small tunnel dates from the Augustan period, perhaps the extension of the external path does as well.

Finally, in the years 76-77 AD, in the reign of the Emperor Vespasian, the largest of the three tunnels was built. Go back and look at the photograph of that tunnel again – that’s right, that modern-looking tunnel that you can drive through today (I have done so) is 1,949 years old as I write this in 2026.

Inside the Tunnel of Vespasian
Inside the tunnel of Vespasian. A close inspection of the wall reveals the marks made by the picks of the builders. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

As remarkable, perhaps, is the fact that until construction of the nearby autostrada in the 1980s, this road, now mainly used by sightseers, cyclists and the occasional history blogger, was the main road between the coast and the area of Umbria around Gubbio. Ordinary cars and trucks would have used this ancient tunnel every day.

There is no argument about the origins of this tunnel: near the northern entrance is the following inscription:

‘IMP(erator) CAESAR AUG(ustus) / VESPASIANUS PONT(ifex) MAX(imus) / TRIB(unica) POT(summer) VII IMP(erator) XVII P(ater) P(atriae) CO(n)S(ul) VIII / CENSOR FACIUND(um) CURAVIT’ (source: Wikipedia, quoting the Corpus Inscriptionum Latinarum).

In country like this, one risk to the road would be washouts caused by meltwater torrents in spring. Doing things properly as always, the Roman engineers built drains and culverts to divert the water under the road.

Drainage channel
A drainage channel near the Gola del Furlo. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

Bandits

Where there is difficult terrain, and a road carrying tempting trade goods, you are likely to get bandits. There are records that one of the duties of the small Roman army detachment here, in addition to keeping the road maintained, was suppression of banditry. At various times since, over the centuries, distant authorities have either sought to exert control over the road, or largely abandoned it. As a strategic route, it was fought over, and fortified, during the Gothic Wars of the 6th Century, and afterwards taken by the Lombards.

While there were some famous travellers over the road in the Renaissance (Lucrezia Borgia, and Pope Julius II, both doubtless with substantial military escorts) it was only towards the end of the 18th Century that the road was properly re-opened, and policed.

One 20th-Century set of “bandits” – at least that is how the government would have referred to them – was made up of anti-fascist partisans. In the 1930s this road was sometimes used by Benito Mussolini when travelling between Rome and the north. The local Forest Guard, in a gesture of loyalty, carved a large profile portrait of the dictator on one of the cliff faces. During the war some of the partisans partially destroyed it, and apparently traces can still be seen, but I didn’t manage to identify it. Or more precisely, I saw several sections of the cliff that might have been the portrait of Il Duce, but might have just been random bits of rock – the mind is good at interpreting random bits of rock face as a human face, particularly when looking for a jutting rock-like fascist chin.

Mussolini, or just rocks
Can you find a portrait of Mussolini in this picture? Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

Getting to the End of The Road

After the Gola del Furlo, the road becomes less steep and the valley widens out as the river – by now the Metauro – starts to wind from side to side as it approaches the Adriatic. The mountains are now rolling hills and the river flows not between canyon walls but, increasingly, between floodplains.

The Flaminia is now mostly underneath several layers of later road, but there is at least one more place where you can see the original. Just as the ancient road came out of the mountains it came to a prosperous town called Forum Sempronii, a name which over the centuries has been transmuted into the modern Italian Fossombrone.

Forum Sempronii was named after Gaius Sempronius Gracchus (154-121 BC), a soldier and politician in the late Republican era who with his brother has been either reviled as a dangerous demagogue or celebrated as a pioneering social reformer. Retelling his career here would take the article off in the wrong direction, but it is worth recording that his reforms, especially land ownership reforms, must have been influential if they named a town after him.

Fossombrone is an attractive town in its own right, but one of its attractions to the history enthusiast is that the modern  town does not sit on top of the ancient one but just west of it, which has allowed the latter to be subject to proper archaeological investigation. We were there on a very hot day in July 2024, and I did feel a bit sorry for the couple of archaeologists who were working in the heat.

Archaeological excavation of Forum Sempronii
Forum Sempronii archaeological excavation. The road in this picture is not the Flaminia, just one around the edge of the forum. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).
Forum Sempronii
Exposing the foundations of a large building at Forum Sempronii. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

And from my point of view, the big thing is that there is a surviving stretch of the Via Flaminia that you can go and look at, and walk along. This is because for some reason the SS3 deviates a few metres to the north, revealing the ancient road. Here as in Carsulae the Flaminia is an urban road, so it gets the full treatment – basalt paving stones, with drains and footpaths at the edges.

Via Flaminia at Forum Sempronii
The old Via Flaminia at Forum Sempronii. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).
Via Flaminia at Forum Sempronii
Drain and footpath beside the Via Flaminia at Forum Sempronii. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

Before long the Adriatic comes into view up ahead and the long descent from the mountains is over. On reaching the coast at Fanum Fortunae (modern Fano) our legionaries would then have swung left up the coast, arriving quite shortly at Pisaurum (Pesaro).

After Pesaro the ancient route is a little unclear for a while – there is a line of hills quite close to the coast and the modern main roads, both the SS16 and the E55 Motorway, follow the inland edge of those hills. I have seen suggestions that the Flaminia tracked close to the coast, but these have a slightly speculative tone.

Screenshot from Google Earth, with hypothetical coastal and inland routes of the Via Flaminia marked in orange and yellow respectively. Source: Google Earth (click to enlarge).

 However in the next town up from Pesaro, now the seaside resort of Cattolica, the renovation of a house in 2020 revealed remains of a Roman road, probably the Flaminia. Here is an article (in Italian) about the rediscovery. So whether the road hugged the coast or went inland, it seems likely that it was definitely at the coast at what is now Cattolica.

Which is where I rejoined it, for the final run into Ariminium (Rimini) where it ended. And as in Rome at the Porta Flaminia, here there is no doubt at all, because when the renovation of the road under Augustus was complete, they erected a big ceremonial arch where the road entered the town.

The Arch of Augustus at Rimini
The Arch of Augustus at Rimini. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

Thanks to the re-use of the name where the modern road follows the ancient one, I also had the pleasure of hearing my satnav say things like “at the next roundabout, take the second exit and continue on the Via Flaminia”.

If you drive around here you might notice other road signs with classical associations. I went past a sign pointing to the “Rubicone Industrial Zone”. Yes, the Rubicon. Ariminium was one of the northernmost cities in what the Romans in the Republican period considered to be Italy. Beyond that (the Po Valley) was Cisalpine Gaul, with a substantially Celtic population. The boundary was the little river Rubicon. Roman generals were not allowed to bring their armies into “Italy” without the permission of the Senate, and so when Julius Caesar famously crossed the Rubicon without authority, it was an act of defiance. “Crossing the Rubicon” therefore became a common metaphor for passing a point of no return. “Alea iacta est” (the die is cast) said Caesar as he crossed, thereby coining two common metaphors in a single action.

Until 1933 no-one could really agree where the Rubicon was, other than just north of Rimini. This close to the Adriatic, and before artificial canalisation, rivers changed course frequently when they flooded, and the name “Rubicon” had fallen out of local use. So the Fascist government decided to rename a river called the Fiumicino (“Little River”) as the Rubicone. Not everyone agrees, but the modern Rubicon is probably not far from the ancient one. It enters the sea at the modern beach resort of Cesenatico, if you want to find it yourself.

Arch of Augustus from the outside
The top of the Arch of Augustus from the outside, showing medieval repairs. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

In Rimini, the Arch of Augustus now stands alone, but was a gate in the town walls until the 1930s when the structures either side were demolished. It is also obvious that the top of the arch has been repaired and is of medieval construction, thanks to the characteristic Ghibelline “swallowtail” crenellations. This section does however incorporate part of the original Latin dedicatory inscription.

Arch of Augustus from the inside
The Arch of Augustus from the inside. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

From Ariminium another major consular road – the Via Emilia – continued towards the northwest, which even more than the Flaminia is quite faithfully represented in the modern road system. Another road – not a consular road – ran up the coast through the marshlands of the Po Delta, but this only became important later.

The Arch of Augustus
The end of the Via Flaminia, showing clearly how much of it is the medieval reconstruction. Fujifilm GFX-50R medium-format digital camera, 32-64mm lens (click to enlarge).

And that is the end of my (reconstructed) journey along the Via Flaminia from Rome to Rimini. Although I have written it as if it were a single journey, the photographs were taken over a period of 20 years or more. I have no idea whether anyone else will enjoy reading this, but as the idea of the project grew, I had a lot of fun working on it. I have no doubt that I will acquire more photographs and information that will add to the story, and will update things as needed. If you are one of the many people who know more about this subject than I do, please use the comments to advise me of any errors.

Urbino – the Palazzo Ducale

The Ducal Palace in Urbino was the home of one of the most famous and cultivated courts of the Renaissance. I have previously posted on Urbino – that article was really about the taking of a single large-format  photograph, but also gave a quick history of the city, and how its court, under the warrior-humanist Duke Federico da Montefeltro,  came to be considered the archetypal Renaissance court under the archetypal Renaissance ruler.

There is something almost theme-park-like about Urbino; the Duke clearly wanted it to be as beautiful as the architects of the day could make it, and so you drive a long way into a comparatively remote part of the country, and then you round a bend and there is a jewel of a small city. Here again is the photograph I took in 2008.

Urbino
The photograph of Urbino from 2008. Horseman 45FA field camera, Fujinon 125mm lens, Kang Tai 6x17cm rollfilm back, Fuji Velvia 50 film (click to enlarge)

We recently revisited Urbino, which gave me the opportunity to take sufficient photographs to illustrate an article on the Palazzo Ducale (Ducal Palace), in which I can reflect a bit more on the Federico phenomenon. Here is a portrait of him as the donor of a religious work by Piero della Francesca, which I photographed in the Brera museum in Milan.

della Francesca Duca Federico
Piero della Francesca, “San Bernardino Altarpiece” (1465-70) with Federico da Montefeltro as the donor, having removed his helmet and gauntlets to pray. Brera Gallery, Milan. Fujifilm X-Pro3 camera, 35mm lens (click to enlarge).
della Francesca detail
Detail of the San Bernardino Altarpiece. I may be wrong, but to me it looks as if Federico’s helmet has been dented by blows (click to enlarge).

This painting was among the many works plundered from Central Italy by Napoleon, but rather than it ending up in the Louvre, Napoleon placed it in the Brera.

Federico famously preferred only to be painted in profile from the left, after losing his right eye to a jousting injury. And in order that this should not prevent him from seeing to his right on the battlefield, he had surgeons remove the bridge of his nose, giving that profile even more individuality. The bas-relief below shows this clearly. The other man is his (probable) brother Ottaviano Ubaldini della Carda, not the half-brother Oddantonio whom Federico succeeded, but a scholar and humanist who established Federico’s famous library for him.

Della Carda and Montefeltro
Duke Federico and Ottaviano Ubaldini della Carda, Palazzo Ducale, Urbino. The brothers’ respective callings are reflected in the books behind Ottaviano, and the helmet behind Federico, and the fact that Federico is wearing armour while his brother wears the tunic of a civilian. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

Federico’s reputation is in a sense the result of a collaboration across the centuries. He himself was, it must be said, a careful curator of his own reputation, and then in the 19th Century his opinion of himself was enthusiastically confirmed by the Swiss historian Jacob Burckhardt, who more or less defined the idea of the Renaissance as we think of it today, and who was looking for exemplars to support his argument. Later on Kenneth Clark picked up the theme in his seminal 1966 television series Civilisation.

Urbino
Urbino: the Ducal Palace, with the dome and campanile of the Duomo behind. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

That is not to say that Burckhardt and Clark fell for a cynical exercise in 15th-Century spin-doctoring. Federico really did receive a humanist education, he really did attract intellectuals to his court, and he really did try to be a philosopher-prince. Burckhardt’s story may be a bit of an oversimplification, but being only mostly right isn’t the same as being wrong.

Urbino Palazzo Ducale
Urbino, the Palazzo Ducale. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge)

A visit to the Palazzo Ducale in Urbino will quickly illustrate various aspects of this – starting with the FE DUX (Duke Federico) you see everywhere; he didn’t want you to be in any doubt as to whose place this was.

FE Dux
Urbino, the Palazzo Ducale. Although all the windows say “FE Dux”, the other embellishments on the columns and architraves vary. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Urbino Palazzo Ducale
Urbino, Palazzo Ducale, the internal courtyard. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

And the palace is the focus of the townscape without crudely dominating it; it is adapted to the contours of the hill and like Pope Pius’s recreation of the town of Pienza, this was about achieving beauty and proportion at scale as well as in miniature.

Urbino
Urbino: the Duomo and Palazzo Ducale from the Fortezza Albornoz. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

Inside there is a large arcaded courtyard with more inscriptions in honour of Federico. After buying our tickets we were ushered into an exhibition of works by a 16th-Century (ie, after Duke Federico) Urbino painter called Federico Barocci who is considered important and influential but who I must say seems a bit third-rate to me. His saints all have pretty faces and rosy cheeks as in the cheaper sort of devotional greeting cards. I guess it says something that Napoleon did not consider his works worth stealing. We did not stay long, and were soon heading upstairs into the Palace, which houses the Galleria Nazionale delle Marche.

Urbino Palazzo Ducale
Urbino: the colonnaded arcades in the centre of the Palazzo Ducale. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

A couple of wings were closed for renovation, alas, which meant that we could not access the balconies on the front of the building, but they had moved the important works from those wings so they could still be seen, and we were able to go up one of the towers.

Urbino Palazzo Ducale
Urbino, the Palazzo Ducale, the towers and balconies on the facade. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Urbino Palazzo Ducale
Urbino, Palazzo Ducale, view from the top of one of the towers. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

There are many large halls, equipped with huge fireplaces to blunt the chill of the Urbino winters (a bit hard to imagine when we visited in a very hot July). One of the largest rooms is hung with expensive Flemish tapestries.

Urbino Palazzo Ducale
Urbino, Palazzo Ducale, Hall of the Flemish Tapestries. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Urbino Palazzo Ducale
Urbino, fireplace in the Palazzo Ducale. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Urbino Palazzo Ducale
Urbino, fireplace in the Palazzo Ducale. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Urbino Palazzo Ducale
Urbino, Palazzo Ducale. The Ducal bedchamber, within a larger room. Apparently this had been forgotten, and was discovered in pieces in a storeroom before being reassembled and put on display. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

The “Ideal City”

There are two emblematic works associated with Urbino that are still kept in the palace. The first, a painting of an “Ideal City” was long attributed to Piero della Francesca, then to several others in turn. Now its creator is more cautiously described as “unknown artist”.

Città Ideale
The “Città Ideale” or Ideal City, once attributed to Piero della Francesca. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

There is another “Ideal City” painting from Urbino whose attribution to della Francesca is accepted; that one is now in the United States.

The depiction of ideal cities was very much a Renaissance thing and it is quite in character for Federico to have commissioned one or more. Renaissance artists were often architects as well, meaning that they had to have a good grasp of applied mathematics. One way to acquire this – and of course to demonstrate it – was to practice the art of perspective. Moreover when you had big aspirations to redesign a whole town, as Federico clearly did, then imaginary cityscapes, especially those that embodied “classical” Roman aesthetic values, would have had obvious attractions.

The Flagellation of Christ

The second emblematic work, The Flagellation of Christ from 1468 or 1470, is unambiguously attributed to Piero della Francesca (because he signed it). It is a mysterious piece the meaning of which continues to elude art historians, although that has not prevented them coming up with many ingenious theories. One popular suggestion is that it is a coded reference to the death, in suspicious circumstances, of Federico’s predecessor and half-brother Oddantonio, who according to that tradition is the blond barefoot figure in the centre of the group on the right. Oddantonio’s government had not been popular in Urbino and when Federico succeeded him he had promised not to investigate his death or hold anyone to account – this is argued to be the reason why this commemoration had to be so cryptic. Just to add spice, there are also theories that Federico himself was in some way complicit in Oddantonio’s death.

Flagellation of Christ
Piero della Francesca, The Flagellation of Christ, Urbino, Palazzo Ducale. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

Other interpretations centre around the intriguing figure of Bessarion, a Greek Neoplatonist philosopher and notable scholar who nonetheless became a cardinal in the Catholic Church and, in a vain attempt to avoid the fall of Constantinople to the Turks, worked unsuccessfully for a reunification of the eastern and western churches. By that reading the picture could be a lament on the destruction of Eastern Christendom. There is certainly a good argument that the Herod figure is meant to be John VIII Palaiologos, the penultimate Byzantine Emperor – he is wearing the red slippers that only emperors could wear, and the same funny hat that he is shown wearing in other likenesses. So I think that the answer to the riddle has to be found in that direction. But no doubt new interpretations of this enigmatic painting will continue to appear: I don’t think anyone has managed to work in the Knights Templar yet, so there’s an opportunity.

Kenneth Clark was particularly enthusiastic about it, calling it the “best small painting in the world”. One additional mystery is how it survived at all. It was apparently discovered folded in half (or cut in half, according to the panel next to it in the palace) which explains the damage to the face of the Christ figure.

The Studiolo

One of the famous rooms in the palace is the so-called “studiolo”, or little study. It is a tiny room, with a chapel attached, decorated with some of the finest examples of trompe-l’oeil intarsio, or wood inlay, to be found in Italy. It is easy to imagine Federico in here, reading dispatches from his commanders, or letters from other rulers, or perhaps studying a copy of some ancient text that he had acquired for his library.

Studiolo
Urbino, Palazzo Ducale, the Studiolo. Trompe-l’oeil intarsio wood inlay. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Studiolo
Urbino, Palazzo Ducale, the Studiolo. Books in a library. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Studiolo
Urbino, Palazzo Ducale, the Studiolo. Federico’s armour. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

The Art of War

As I explained in the earlier article, as a second son, (originally illegitimate, but legitimised by the Pope) Federico’s intended career was as a condottiere or mercenary captain. When he succeeded to the Dukedom he found that the duchy’s finances were in a very poor state, so he kept going in that line of work to bring in an income, with the additional benefit to prospective employers that he was not just supplying an army, but an alliance. He was very successful in the profession of arms, so when he was celebrating his achievements, his military prowess tended to be prominent.

In most pictures of Federico, such as the one from the Brera shown above, he is either wearing his armour, or he has it beside him. And the surgery on his nose would always be a reminder that he had been a soldier before he was anything else.

It turns out that Federico commissioned a celebration of his martial profession as part of the external decoration of the palace. If you look at the picture below, there is space for a frieze (now just a blank strip) along the bottom of the wall around the square, above the bench where people are sitting.

Palazzo Ducale
Urbino, Palazzo Ducale, the space behind the bench, where people are sitting, was once occupied by the “Art of War” frieze. Fujifilm X-Pro3 camera, 16mm lens (click to enlarge).

Federico was apparently a keen student of the works of the ancient Roman architect Vitruvius, especially his book on military machines, and so the frieze he ordered was to feature diagrams of those as well. According to Vasari they were originally coloured.

After a couple of hundred years of being out in the weather (and perhaps of the citizens of Urbino leaning against them) the images had become badly deteriorated, and 1756 the Papal governor ordered that they be removed and brought indoors, where they stayed until the 1940s. They weren’t visible when we were last here in 2008, but they have been brought out again and put on display. Some of them are indeed so badly deteriorated that it would be impossible to make out their subject were it not for helpful illustrations alongside, but here are a few of the better ones.

Bombard
From the “Art of War” frieze, a bombard – a primitive cannon that threw large stone balls at fortifications. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Bastia
From the “Art of War” frieze. A bastia – a mobile siege platform which could be rolled up against a fortification, and from which soldiers could descend. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Musical instruments
From the “Art of War” frieze. Military musical instruments including trumpets and drums. The information panel says that they include pan pipes, but I can’t see how they would be audible on a battlefield. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Panoply
From the “Art of War” frieze. A panoply, including a bombard, a shield, and some items the description was a bit vague about but which might include an instrument for aiming artillery. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

The End of the Story

As I said in my earlier article, the flame of Urbino burned brightly, but not for long. The duchy passed into the hands of staunch Papal allies, the della Rovere family, who put another floor on the palace and furnished it to their own tastes.

Top floor
From the upper (della Rovere) floor of the palace. View through coloured leadlight windows. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
della Rovere
The upper (della Rovere) floor. The emblem of the three cylinders with acorns on top appears several times, but we did not find an explanation. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).

But the party was already over, and in due course the title was extinguished and the duchy was formally absorbed into the Papal States. From a humanistic intellectual lighthouse to a provincial backwater, Urbino’s fall was far indeed. There is of course one benefit from that long period of decline, which is that architecturally the city remained frozen in time at the period of its greatness. It is now a university town and there is a bit of energy about the place once again. So nowadays you can visit this improbably beautiful city and imagine what it must have been like when it and its ruler were “The Light of Italy”.

A Nation of Shopkeepers

This is an affectionate photographic tribute to the shopkeepers of italy, most of whom were forced to close this week because of COVID-19.

So there I was, unable to get back to Italy for the foreseeable future and worried about the people we know there. Then I saw the news about most shops being closed, which depressed me further, but then I realised it had given me an idea about something else to celebrate about Italy. It might cheer me up a bit, and I hope it cheers you up too.

The Italian genius for design manifests itself in various celebrated ways. The fashion houses of Milan. Alfa Romeo and Ferrari. The classic Vespa. The Piaggio P.180 aircraft. It isn’t enough merely to be fit for purpose. – it must be beautiful. (In fact thinking back to my much-loved Alfa 159, sometimes form clearly had taken precedence over function). But it isn’t just the highly-paid designers. Deep down, every Italian is a stylist. You can tell by the way they dress for the evening passegiata. And in every market and every shopping street, you can tell by the care with which they arrange the displays of merchandise for maximum effect on stalls and in shop windows.

The architecture can be a delight too – especially the way that a vintage shopfront is carefully maintained for decades.

Italians are famously individualists. Not always a good thing, when it comes to following public health directives. But the pride that people take in themselves and their own enterprise really comes out in their shops. I’ve already posted a photo essay on the market at Padua, which you can look at to see the displays of fruit, fish and meat.

So here is an affectionate tribute to shopfronts and shop window displays, dedicated to all of their proprietors, and what they are going through right now. Things may not always be done in the most refined taste, indeed sometimes they are positively idiosyncratic, but in every case they have been done carefully.

We start in the town of Norcia. Apart from being the birthplace of St Benedict, it is famous for its smallgoods manufacturers. So much so that salumerie throughout Italy often refer to themselves as Norcinerie.

Norcia
Norcia. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Norcia
Norcia. “Da Tre Porcellini” (The Three Little Pigs). Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Norcia
Cool dudes in Norcia. “Coglioni de lu Mulu” means “mules testicles” in dialect, but they are just a form of salami. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Norcia
A Norcineria in Norcia. Fratelli Ansuini (Ansuini Brothers) is quite a big producer, and I can’t help wondering if that really is their name, since “suini” means “pigs”. If so it is a happy coincidence. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

The first three of those pictures were taken with my favourite 35mm camera of all the many I have owned. The Contax brand originally referred to cameras made by the branch of Zeiss that stayed in the old East Germany. The brand was bought by the Japanese Kyocera company, and they produced a couple of absolutely beautiful little rangefinder cameras, with superb genuine Zeiss lenses. If they would bring out a digital version I would buy it like a shot. Being small and light, the Contax G1 is great for candid street photography, such as the following two taken in Via Garibaldi in the Arsenale quarter of Venice.

Via Garibaldi
Via Garibaldi, Venice. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Via Garibaldi
Via Garibaldi, Venice. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).

This next is also from Venice, and is of course a shop in a Venetian context. Not a candid street snap, as it was taken on a large format camera on a tripod.

Rio S Barnaba
Greengrocer’s “shop”, Rio San Barnabà, Venice. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5″ film back, Fujichrome Velvia film (click to enlarge).

The island of Burano, in the Venetian lagoon, is famous for its brightly coloured buildings. Here is a butcher’s shop.

Burano
Butcher’s shop on Burano. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5 inch film back, Fujichrome Velvia film (click to enlarge).

The town of Sulmona is in the rugged region of Abruzzo, surrounded by high mountains. It is famous in Italy for the production of confetti for weddings and other celebrations. Now in Italy confetti are not bits of coloured paper to throw at the happy couple. They were originally hard sugared almonds – not the sort of thing you would throw at anyone. These days “confetti” include all sorts of hard candies, many garishly coloured. The maker pictured below specialises in making sunflowers out of them.

Sulmona
Sulmona, confetti maker’s shop. Hasselblad 500C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

In Naples, the colour and glow of shops, especially a baker like this, make a particular contrast to the gritty streets outside.

Napoli Via Tribunali
Baker’s shop in Via Tribunali, Naples. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6c6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

The picture below is from Bologna, which is generally thought of of a gastronomic centre. Needless to say, it has several excellent (and expensive) food shops, which clearly feel obliged to have window displays that match the reputation.

Bologna salumeria
Bologna salumeria. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).

Here are four very elegant shop fronts. A cafe and tobacconist in Urbino, another confetti outlet in Sulmona, a butcher’s in Spoleto, and an electrical parts shop in Bologna.

Urbino Caffetteria
Caffetteria Fratelli Boni, Urbino. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Sulmona confetti
Confetti Rapone Panfilo, Sulmona. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).
Spoleto Macelleria
Macelleria Giovanni Luna, Spoleto. Hasselblad 501C/M camera, Zeiss Distagon 60mm lens, CFV-50C digital back (click to enlarge).
Bottega della Luce
Bottega della Luce, Bologna. Hasselblad 501C/M camera, Zeiss Distagon 60mm lens, CFV-50C digital back (click to enlarge).

Here are two very traditional shops. Another salumeria, from Verona, and “Everything for the Home” from San Quirico d’Orcia in Tuscany.

Salumeria Albertini
Salumeria G. Albertini, Verona. Hasselblad 501C/M camera, Zeiss Distagon 60mm lens, CFV-50C digital back (click to enlarge).
Tutto per la Casa
Tutto per la Casa, San Quirico d’Orcia. Canon EOS-3 35mm camera, 28-135 IS lens, Fujichrome Velvia film (click to enlarge).

And I will finish with two of my favourites. The first is from the town of San Zeno in Montagna, high up above Lake Garda. The second is the town of Castiglione del Lago, a fortified town sticking out into Lake Trasimeno in Umbria. They are my favourites because they include the proprietors. Bless them, and all the shopkeepers of Italy.

San Zeno in Montagna
San Zeno in Montagna, Veneto. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).
Castiglione del Lago
Castiglione del Lago. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

Note, added 2024: I said earlier that I wished I could find a digital equivalent of the Contax G1 35mm camera. A year ago I bought a Fujifilm X-Pro 3 and I must say that does give me much of the same kind of feeling when using it.

History in Focus: Urbino

Welcome to the second post in my series “History in Focus” where I feature the happy combination of a beautiful place, a rich history and a single successful photograph.

Urbino
Urbino. Horseman 45FA field camera, Fujinon 125mm lens, Kang Tai 6x17cm rollfilm back, Fuji Velvia 50 film (click to enlarge)

The Place

We are looking at Urbino, in the region of Le Marche. It is on the unfashionable eastern side of the Apennines, in rolling hills between the high mountains and the coastal plain where the rivers run towards the Adriatic. The countryside is as pretty as anything in Tuscany or Umbria. They make decent wine, and the white wines of Jesi are moderately well known.

Great events of history have, by and large, passed Le Marche by. Yes, in antiquity one of the major routes north from Rome, the Via Flaminia, wound over the mountains here. But the going was still hard, and in comparatively recent history if you wanted to get from Rome to – say – Ancona on the Adriatic coast, you might have been better served going by sea.

The region lacks the extraordinary fertility of the Po Valley, was the centre of no mighty ancient civilisation, and the trade routes that passed through it were of the second order at best. Empires did not often fight over it. Its location, in short, did not create the environment for an economic or strategic powerhouse. And yet one of Italy’s jewels is found here.

The History

Urbino seems almost too perfect to be true. The town, stretched along its ridge, and its major buildings, look like illustrations from a fairy tale or a romance. The painter Raphael was born and served his apprenticeship here. Its court was where one of the classics of Renaissance literature was written. Its palace is a jewel box of architecture and art. It was ruled by an archetypal Renaissance philosopher-prince, a stern warrior with a humanist education who patronised artists and intellectuals and assembled one of the greatest libraries outside the Vatican. In almost every respect, it could be considered an exemplar of Renaissance ideals – an ideal ruler in an ideal court in an ideal city. And its greatness came and went quickly – its light burned briefly, but brightly.

Urbino was a Roman city in antiquity, but was close enough to the late Roman capital of Ravenna to suffer in the wars between Byzantines and Goths, and during the Lombard invasions. One comes across few references to it in most histories of the Middle Ages, and at the end of that era the impression is of a provincial capital whose ruling family controlled enough territory to make a few advantageous dynastic marriages in the immediate region, but for whom greatness did not obviously beckon.

Then, in the mid-15th Century, along came Federico da Montefeltro, Duke of Urbino. He was the bastard son of a former duke, and the title was first inherited by his half-brother. Federico set out on one of the standard careers for such young men, as a condottiere or mercenary leader, selling his services in the interminable wars of the period to the leaders of wealthy states such as Milan and Naples, or indeed the Pope.

As it turned out he was very successful at this profession, which proved to be useful. For when he assumed the dukedom on the death of his half-brother, he inherited a minor duchy whose finances were not in a good state. But the considerable income from his military activities, combined with the bargaining power of being a competent general at the head of a loyal and disciplined force, meant that Urbino was suddenly punching above its weight.

Having a humanist education, Federico enthusiastically embraced the ideals of the Renaissance, governing his small duchy justly based on the best examples of the classical world. Painters, scholars and architects were all attracted to his court. A classic of Renaissance literature, Il Cortigiano (The Courtier) by Baldessare Castiglione, was written there and described an ideal court, based in good part on Federico’s actual court. It was hugely influential throughout Europe in describing what it meant to be a gentleman, when that had come to mean more than just landed wealth and skill at arms, but manners, learning and culture as well.

Urbino’s position in our imaginations as the exemplar of so much that was admirable about the Renaissance has been around for a while. It started with Castiglione, but Castiglione’s line was enthusiastically taken up by the man who really invented the modern idea of the Renaissance – the 19th Century Swiss historian Jacob Burckhardt. The legend of Urbino was given a further enthusiastic endorsement by Kenneth Clark in his seminal 1970s BBC television series Civilisation. (A few years ago the series was remastered in high definition from the original 35mm film stock – it occasionally turns up on streaming services and is worth looking out for.)

Modern historians point out, correctly, that the greatest architect of the legend of Federico the warrior-philosopher-prince was Federico himself. That’s true; he was a careful curator of his own legacy. But that doesn’t make him a fake – there is no evidence that he did not genuinely aspire to be the person he wanted to be remembered as.

But Federico’s son died without heir, the duchy passed to a family allied to the Papacy, and before long Urbino became part of the Papal States and entered the long economic and intellectual decline that came with it. Paradoxically, like other places in Central Italy, it was just that sudden reversion to a backwater which preserved the city for us much as it was during those glory days. These days Urbino is a university town which gives it a sense of intellectual energy very much in keeping with its past.

The Photograph

This photograph was the product of good planning and good fortune. Of course, having done the former makes it more likely that you will be in a position to take advantage of the latter.

We were staying a couple of dozen kilometres away near a small town called Isola del Piano, and it was a quick trip over fairly decent back roads from there to Urbino. The evening before I took the photograph, we drove over to Urbino and I picked a spot which had a good view of the city. In addition, I had a compass with me and a table for that time of year showing the time of sunrise, and the azimuth of the sun at dawn. It seemed likely that, given good conditions in the morning, the city would be illuminated over my right shoulder by the rising sun. I marked the position on my satnav. These days I have an app on my smartphone which does all that!

I set the alarm for an hour or so before sunrise the next morning, and crept out taking all my large format camera gear with me. Arriving at the spot I spent half an hour or so setting up and composing the picture; I had chosen to use a 6x17cm rollfilm back on the Horseman camera to give me a panoramic format, and a slightly wide-angle lens.

And this is where the good fortune comes in. It had rained quite heavily the day before, but the morning proved to be fine. As the light slowly increased, I realised that the valleys were filled with mist. This not only meant that various main roads, petrol stations and other modern buildings were hidden, but the magical city of Urbino, which floats in our imagination as an embodiment of the Renaissance ideal, was transformed into an island floating in a sea of cloud. The cloud started burning off quite quickly once the sun hit it, so I only had a few minutes in which to take pictures at various exposures. In this version I used a long exposure to smooth out the movement of the cloud, and a 2-stop neutral density graduated filter to bring the brightness of the sky and the land closer together, as it would be perceived by the human eye.

Edit: in 2024 we revisited Urbino and the photographs I took then are the basis of a separate article here.