page_title: Nicola da Urbino
hierarchical_section_title: Nicola da Urbino
caption_attribution_description: Britain Loves Wikipedia at the Victoria and Albert Museum Plate with Hippolytus and Phaedra English: Plate with Hippolytus and Phaedra Probably 1524 Nicola da Urbino (Active 1520-38) This plate, showing the arms and mottoes of Isabella d\'Este and her late husband Gianfranco Gonzaga, was not housed in the study, but comes from a service probably kept at her villa. The Latin inscriptions and decoration, including a scene from Ovid, reflect Isabella\'s enthusiasm for classical learning. Italy, Urbino Tin-glazed earthenware (maiolica) Inscribed in Latin \'Without hope and without fear\' and 27 in Roman numerals (read as \'vinte sete\' in Italian or \'You are defeated\') Salting Bequest Collection ID: C.2229-1910 This photo was taken as part of Britain Loves Wikipedia in February 2010 by Valerie McGlinchey.
context_page_description: Nicola da Urbino formerly confused with Nicola Pellipario has traditionally been designated as the Italian ceramicist from Castel Durante in Marche who introduced into painted maiolica the new istoriato style, in which the whole surface of a plate or charger is devoted to a single representational scene. Nicola's scenes were often derived by freely adapting woodcuts from Romances or the Latin classics, such as the illustrated Ovid's Metamorphoses printed at Venice, 1497, to which he returned so often that it appears that a copy of it must have lain in his shop; however, he did not merely copy: "the often crude outlines of the black-and-white figures are converted by him into embodiments of supple vitality," Bernard Rackham observed. Later he gave up book illustrations in favour of compositions of Raphael, mediated through the engravings of Marcantonio Raimondi, and, in at least one case, by direct access to a drawing by Raphael of Michelangelo's David, seen from the rear. Nicola often introduced prominently pieces of schematic and severely frontal architecture in the Renaissance manner.
context_section_description: Nicola da Urbino (ca. 1480 – 1540/1547) formerly confused with Nicola Pellipario has traditionally been designated as the Italian ceramicist from Castel Durante in Marche who introduced into painted maiolica the new istoriato style, in which the whole surface of a plate or charger is devoted to a single representational scene. Nicola's scenes were often derived by freely adapting woodcuts from Romances or the Latin classics, such as the illustrated Ovid's Metamorphoses printed at Venice, 1497, to which he returned so often that it appears that a copy of it must have lain in his shop; however, he did not merely copy: "the often crude outlines of the black-and-white figures are converted by him into embodiments of supple vitality," Bernard Rackham observed. Later he gave up book illustrations in favour of compositions of Raphael, mediated through the engravings of Marcantonio Raimondi, and, in at least one case, by direct access to a drawing by Raphael of Michelangelo's David, seen from the rear. Nicola often introduced prominently pieces of schematic and severely frontal architecture in the Renaissance manner. His plate of Solomon Adoring an Idol in the Museo Correr adapts an illustration from Hypnerotomachia Poliphilii.
caption: Maiolica plate by Nicola da Urbino, ca.1524, with the arms of Isabella d'Este and her late husband (Victoria and Albert Museum, London)
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