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	Urbino was one of the most important centers of the Italian Renaissance, which still retains full architectural heritage, since 1998 the old town is a UNESCO World Heritage.</div>
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	Monuments and places of interest</div>
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	The Ducal Palace</div>
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	Very well known and visited, it is one of the most interesting architectural and artistic examples of the entire Italian Renaissance. The palace is home to the Galleria Nazionale delle Marche, and is characteristic for the turrets that surround the rear.</div>
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	Raphael&#39;s house</div>
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	It is located in the street, at number 57. Here you can admire a fresco of a young Raphael, as well as the rooms and furnishings of the house where he lived the famous painter.</div>
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	The dome</div>
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	Built in a Neoclassical style (architect Giuseppe Valadier) straddling the eighteenth and nineteenth centuries, contains some paintings by Federico Barocci.</div>
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	Former Monastery of St. Clare</div>
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	It is one of the most important monuments of the city. A first structure was built at the site around 1420 to house the Conservatory of the Widows Women; in 1456 he received the rule observance of St. Clare by Pope Callistus III through the intercession of the Duke Federico III da Montefeltro. In 1457 he went into seclusion the first wife of Duke Frederick III, Dear Brancaleoni, and in 1472 there was buried the second wife of the Duke, Battista Sforza, by the express will of the deceased. Also in 1482 Elisabetta da Montefeltro, one of the daughters of the Duke Federico III, retired to this monastery, after the death of her husband Roberto Malatesta; after a few years became a nun and her dowry started the renovation of the monastery, on the Sienese the architect Francesco di Giorgio Martini, remained unfinished because of the unfavorable historical circumstances. Then the Della Rovere intervened, between the sixteenth and seventeenth centuries, the monastery church is enriching decoratively negl&#39;interni and exterior; from 1538 he became the Ducal Mausoleum with burial in the said church of the Duke Francesco Maria I della Rovere and then in the following years to other family members. In the history of the building will not register anything in particular until 1864, when the building was confiscated by the city and allocated to Institute of Female Education, destination he held until 1904 when there was established the Civil Hospital; this destination led to profound transformations of the interior, with serious demolition as the cancellation of the seventeenth-century decorations in the church, used as a hospital hallway. [10] In the seventies, the hospital was moved to a new building on the outskirts of the city, and the former monastery became the seat of the Higher Institute for Artistic Industries (ISIA), which led to an initial recovery of the structure. You will have to wait until September 22, 2011 for the full recovery of the building, with the term of the restoration work, which lasted four years, which have brought the building aspect of the sixteenth century.</div>
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	The date and the helical ramp</div>
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	The date (or Ducal Stables) could hold up to 300 horsepower and together with the nearby spiral ramp is the work of Francesco di Giorgio Martini; both wanted by the Duke Federico da Montefeltro III in the second half of the fifteenth century, as parties related to the complex of nascent Ducal Palace. The Helical Ramp is an impressive architectural structure that stands on the north side of the date. Its function was to ensure passage, the Duke and his court, from Palazzo Ducale to the stables and vice versa. In the nineteenth century it was erected on the top of the ramp, the Teatro Sanzio, the architect Vincenzo Ghinelli. After a long period of neglect, mainly because of the decline of the city from the second half of the sixteenth century, the ramp and the date were subject to a restoration project by architect Giancarlo De Carlo. This project led to the complete restoration of the helical ramp in 1977, urban intervention of recovery of the whole of the Mercatale area, and the very recent launch of the restoration work, much discussed, the Ducal Stables.</div>
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	The Mausoleum of the Dukes</div>
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	This church is also known as San Bernardino and is part of a monastery to which the city cemetery is attached. Located just outside the city walls, it was built, probably by Francesco di Giorgio Martini in the second half of the fifteenth century by the Duke Federico III da Montefeltro, to house his own tomb and those of his successors; ie Guidobaldo Da Montefeltro The last duke of the dynasty. Originally there was kept on the high altar, the famous altarpiece by Piero della Francesca, depicting the Madonna, Frederick III and some saints, now in the Pinacoteca di Brera in Milan (having been stolen by Napoleon&#39;s troops in 1797).</div>
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	The Oratory of San Giovanni</div>
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	It was seat of the fraternity, to which was united, in the early twentieth century, even that of Sant&#39;Antonio Abate for the overthrow of the Oratory same fraternity located at Mercatale village. Inside you can admire an impressive cycle of frescoes representing the Crucifixion of Christ, in the wall behind the main altar, and the History of the Life of St. John the Baptist, along the side walls, considered one of the most important examples of the Gothic style international. The frescoes were made by brothers Lorenzo and Jacopo Salimbeni from San Severino Marche between 1415 and 1416.</div>
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	The St. Joseph&#39;s Oratory</div>
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	It is seat of the fraternity, born at the beginning of the sixteenth century by Franciscan Father Jerome Recalchi from Verona. The first brothers met in some quarters of the nearby Oratorio di San Giovanni; then to 1503 the need was felt by the Brotherhood to acquire its own headquarters. So with the permission of Bishop Arrivabene Giampietro and funding of Duke Guidobaldo I da Montefeltro and his wife Elisabetta Gonzaga, they could start work on the construction of the oratory, which lasted from 1503 to 1515. The church was rebuilt between 1682 and 1689, at the Orazio Albani expenses, due to the high humidity that plagued the high altar, moving it to the downstream wall, where there was the entrance. The new altar, made of precious marbles, was consecrated in 1729, a gift of Cardinal Annibale Albani. The brotherhood of the statutes were drafted in 1503 and rebuilt in 1553, with the approval of the bishop Felice Tyrants. The main charitable work done by the confreres was assisting those sentenced to death. Very attached to this brotherhood, it was the noble family of the Albani, in particular Pope Clement XI and Cardinal Annibale Albani, who helped to make it one of the richest of Urbino, both economically and artistically. This brotherhood was united to the Brotherhood of St. John the Beheaded in Rome. Inside the oratory, it is currently preserved a valuable plastic work of Urbino Federico Brandani sculptor, depicting the birth of Jesus Christ, built between 1545 and 1550 in tuff and pumice stone; the particularity of the work comes from the fact that the entire chapel, in which is preserved, is entirely covered with the tuff to recreate the environment of a cave as possible. The real church is a single room, in a rectangular shape, is richly decorated with frescoes on the walls, on the vault and in the apse, the painter from Urbino Carlo Roncalli, author of the four large paintings on the side walls, representing the main facts of life St. Joseph: the Marriage of the Virgin Mary, the Birth of Jesus Christ, the flight into Egypt and the Transit of St. Joseph (Death). Above the altar dominates a large marble shrine, donated by Pope Clement XI in 1732, with two columns in red porphyry, from the Pantheon, and the center is placed a white marble statue of St. Joseph, the work of Giuseppe Como Lironi, coming from the basilica of St. John Lateran. In the sacristy you can admire, in addition to the eighteenth-century portraits of famous brothers, also a wooden cabinet decorated with landscape views of the painter Alessio De Marchis, a splendid example of the mobile from the sacristy of the Marche seven hundred.</div>
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	The church of San Francesco</div>
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	Dating back to the thirteenth century, but settled in its present form in 1742 by the architect Luigi Vanvitelli. Has maintained the existing Gothic church: the bell tower with the chapel below, the narthex (the portico on the facade) and a part of a fresco depicting the crucifixion of Christ, by the Salimbeni brothers. The present church is the &quot;Pantheon&quot; of Urbino, because there were burial: Federico Barocci, Giovanni Santi (painter and father of Raphael) and his wife Magia Ciarla, the Pelingotto Beato, Count Antonio da Montefeltro II, Timoteo Viti (Urbino painter ), Federico Comandino (mathematician), Bernardino Baldi (writer), Antonio Galli (poet), Mark Montano (poet), Muzio Oddi (architect) and many others. In addition, the church houses a beautiful painting by Federico Barocci, titled &quot;Pardon of Assisi&quot;, located on the main altar.</div>
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	The theater Sanzio</div>
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	It was erected on top of the tower, in which there is a helical ramp, called Abundance for its proximity to the nearby Garden of Abundance, name under which indicated the date by when it was no longer used as a stable as a result of the collapse of the roof to the degradation. In 1840 a competition was held to select the architect to entrust the project of the new theater; He was chosen as the senigaliese Vincenzo Ghinelli. The beginning of the construction work began in 1845 and lasted until 1853; with the construction of the theater they were demolished some structures the top of the helical ramp, now used for several years as citizens barns (Shed of Abundance). The interior decoration was entrusted to Raffaelle Antonioli from Gubbio, who took charge of decorating the ceiling of the hall, Francesco Serafini the curtain decorated with a scene depicting the Glory of Urbino while Romolo Liverani was commissioned to build the sets; The lobby is decorated with two marble busts, one depicting Raffaello Sanzio (to which the theater is dedicated) by Charles Finelli of 1853, but remained unfinished when the artist&#39;s death, while the other bust depicting Donato Bramante realized by sculptor Giambattista hazards (future first director of the Institute of Fine Arts / School of the Book) in 1850. in addition to the theater, the Ghinelli had also designed the surrounding urban fabric, such as the construction of a small portico in front of the facade of the building in order to facilitate the maneuvers of the carriages. Between 1977 and 1982 the building underwent a radical restructuring by architect Giancarlo De Carlo, who brought considerable changes especially agl&#39;ambienti interior of the theater.</div>
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	The Albornoz fortress</div>
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	It was erected by Cardinal Anglico Grimoard in the fourteenth century, in order to better control the city, after they had been some riots; It was strengthened in the same century by the Spanish Cardinal Albornoz. Finally it was reconstructed in its present form in the sixteenth century. In 2010 the building became home to a museum on the weapons and armor of the fifteenth century, called Armoury Ducale - Bella Gerit. From the top of the building you can enjoy a beautiful view over the city and surrounding hills.</div>
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	Source: Wikipedia</div>
