His older half-brother Federico therefore took power, one of the greatest princes on the Italian scene of the time, famous both as a leader in battle and as a cultured patron of the arts.

He alternated important military campaigns with a dazzling career as a statesman, also taking care of the erection of the Ducal Palace and protecting very famous artists at his court, such as Leon Battista Alberti, Piero della Francesca, Paolo Uccello, Pedro Berruguete, Luca della Robbia and Justus van Gent, in addition to the large group of architects and sculptors who embellished his palace.

[2] Confirmed duke in 1474, he promoted the construction of numerous fortresses designed by Francesco di Giorgio Martini and assembled one of the most important libraries of the Renaissance.

Such was the importance of the Duchy that Urbino attracted or hosted in those times, among others, Piero della Francesca, Melozzo da Forlì, Luca Signorelli, Perugino, Giovanni Santi, Pinturicchio and Francesco di Giorgio Martini, as well as a young Bramante.

[3] After a period of regency by Ottaviano Ubaldini della Carda, Guidobaldo da Montefeltro came to power, a promising but ill young man since his youth, who for this reason was unable to match his father's military career, despite taking part in some battles as a leader.

His reign was troubled by the struggles against the Papal States, in particular the conquests, which were never long-lasting, suffered by the nephews of the pontiffs, such as Cesare Borgia and Lorenzo de' Medici.

Francesco Maria managed to take back Urbino from the Pope Leo X and was also able to expand the state with Senigallia and, above all, Pesaro, which was chosen as the new capital of the duchy in 1523.

With his wife Eleonora Gonzaga, he dedicated himself to the construction of new sumptuous residences, including the Palazzo Ducale and the Villa Imperiale of Pesaro, and was the protector of artists such as Titian, Girolamo Genga, Raffaellino del Colle and Dosso Dossi.

However, all the movable things of the family remained the personal property of Francesco's daughter, Vittoria, who, upon marrying the Grand Duke of Tuscany Ferdinando II de' Medici, brought the extraordinary collections of paintings, jewels and various objects with her to Florence.