Urbino in the context of "Raphael Rooms"

Raffaello Sanzio da Urbino (Italian: [raffaˈɛllo ˈsantsjo da urˈbiːno]; March 28 or April 6, 1483 – April 6, 1520), now generally known in English as Raphael (UK: /ˈræfeɪ.əl/ RAF-ay-əl, US: /ˈræfi.əl, ˈreɪfi-, ˌrɑːfaɪˈɛl/ RAF-ee-əl, RAY-fee-, RAH-fy-EL), was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo, he forms the traditional trinity of great masters of that period.

His father Giovanni Santi was court painter to the ruler of the small but highly cultured city of Urbino. He died when Raphael was eleven, and Raphael seems to have played a role in managing the family workshop from this point. He probably trained in the workshop of Pietro Perugino, and was described as a fully trained "master" by 1500. He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of Pope Julius II, to work on the Apostolic Palace at the Vatican. He was given a series of important commissions there and elsewhere in the city, and began to work as an architect. He was still at the height of his powers at his death in 1520.

Federico Commandino (1509 – 5 September 1575) was an Italian humanist and mathematician.

Born in Urbino, he studied at Padua and then at Ferrara, where he received his doctorate in medicine under Antonio Musa Brassavola. He had numerous patrons throughout his life. Initially, aided by Grassi, the bishop of Viterbo, he then came under the patronage of Pope Clement VIII. In Urbino, he was sponsored by Guidobaldo II della Rovere, but then came to Rome with cardinal Ranuccio Farnese. In Rome, he was patronized by Cardinal Cervini, who served briefly as Pope. Lured back to Urbino by Francesco Maria II della Rovere. In Urbino, he putatively met John Dee, and corresponded with the scholars Conrad Dasypodius (il Dasipodio), Gerolamo Cardano, Francesco Maurolico, and Christopher Clavius.

The Flagellation of Christ, in art sometimes known as Christ at the Column or the Scourging at the Pillar, is an episode from the Passion of Jesus as presented in the Gospels. As such, it is frequently shown in Christian art, in cycles of the Passion or the larger subject of the Life of Christ. Catholic tradition places the Flagellation on the site of the Church of the Flagellation (the second station of the Via Dolorosa in Jerusalem). It is the second Sorrowful Mystery of the Rosary and the sixth station of John Paul II's Scriptural Way of the Cross. The column to which Christ is normally shown to be tied, and the rope, scourge, whip or birch are elements in the Arma Christi. The Basilica di Santa Prassede in Rome is one of the churches claiming to possess the original column or parts of it.

In art, the subject was first depicted as one of a series of Passion scenes, but from the 15th century onwards it was also painted in individual works. The most-discussed single work is the enigmatic Flagellation of Christ on a small panel in Urbino by Piero della Francesca (1455–1460), the precise meaning of which has eluded generations of art historians. At the same time, Christ at the Column or Christ at the Stake developed as an image of Christ alone tied to a column or stake. This was most popular in Baroque sculpture, and also related to the subject, not found in the canonical Gospels, of Christ in the Dungeon. It is often difficult to distinguish between these two subjects, and between Christ at the Column and a Flagellation.

Federico da Montefeltro, also known as Federico III da Montefeltro KG (7 June 1422 – 10 September 1482), was one of the most successful mercenary captains (condottieri) of the Italian Renaissance. He became the lord of Urbino in 1444, and ruled the city as its duke from 1474 until his death. In addition to his considerable reputation for martial skill and honour, he was a renowned intellectual humanist and civic leader. Montefeltro commissioned the construction of a great library, perhaps the largest of Italy after the Vatican's, complete with a team of scribes in its scriptorium. He also assembled a large humanistic court in his Ducal Palace, designed by Luciano Laurana and Francesco di Giorgio Martini.

The Renaissance in Urbino was one of the most fundamental manifestations of the early Italian Renaissance.

During the lordship of Federico da Montefeltro, from 1444 to 1482, a fertile and vital artistic climate developed at the court, due to cultural exchanges with numerous centers on the peninsula and also abroad, especially the Flemish one. The cultural movement in Urbino was restricted within the court, around its highly refined prince, and although it elaborated highly advanced and avant-garde solutions, it did not generate a real local school, also due to the recourse mainly to foreign artists. Nevertheless, the Urbino style, by virtue of the very circulation of artists, experienced a wide diffusion, which made it one of the key variations of the Italian Renaissance. Among the basic characteristics of its humanistic culture were the unmistakable tone made of measure and rigor, which had protagonists such as Piero della Francesca, Luciano Laurana, Justus van Gent, Pedro Berruguete, Francesco di Giorgio Martini, and Fra Diamante.

The University of Urbino Carlo Bo (Italian: Università degli Studi di Urbino Carlo Bo, UniUrb) is an Italian university located in Urbino, in the region of Marche, in north-eastern central Italy. The main campus occupies numerous buildings throughout the historic Urbino town center and the nearby countryside, with a branch campus in Fano. The university's enrollment in 2019 was 11,646 undergraduate students and 2,230 graduate students, with 858 full-time or part-time instructional and research faculty across various departments.

The University of Urbino is renowned for teaching and research in sports science, humanities, biology and computer science. Until 2006 it was a free university.

The Archdiocese of Urbino–Urbania–Sant'Angelo in Vado (Latin: Archidioecesis Urbinatensis–Urbaniensis–Sancti Angeli in Vado) is a Latin Church ecclesiastical territory or archdiocese of the Catholic Church in the Province of Pesaro and Urbino in the Marche region of central Italy. The current archbishop is Sandro Salvucci, appointed in January 2023. It was previously a metropolitan see.

Its cathedral is a minor basilica and World Heritage Site: Basilica Cattedrale di S. Maria Assunta, in Urbino. It has two co-cathedrals, both former cathedrals of absorbed diocese whose title was also adopted: another minor basilica, the Basilica Concattedrale di S. Michele Arcangelo, dedicated to the archangel Saint Michael, in Sant’Angelo in Vado, and the Concattedrale di S. Cristoforo Martire, dedicated to the protomartyr Saint Christopher, in Urbania.