Art

Piero della Francesca: Díptic del duc d’Urbino

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Piero della Francesca (c. 1415-1492): Díptic del duc d’Urbino, o Retrat de Battista Sforza i Federico de Montefeltro o Triomf de la Castedat, 1465-66. Oli sobre taula. 47 x 33 cm. cadascun. Galleria degli Uffizi, Florència. Encàrrec: Federico de Montefeltro.

Plantejament de preguntes

Piero della Francesca[1] és un dels autors que marcaran la transició entre la primera i la segona generació del Quattrocento i que amb els seus estudis teòrics i pràctics sobre la perspectiva, ja no presentarà cap punt de contacte amb l’estil gòtic internacional.

Aquest retrat de Federico de Montefeltro ens remet a dues qüestions: com i per què el Renaixement es va donar en altres ciutats d’Itàlia, com la petita Urbino (un feu papal que pertanyia als Montefeltro –una família de condottieri–, que l’havien adquirit a canvi dels deutes contrets amb ells pel papat), i com l’art és utilitzat com a instrument per a crear-se una determinada imatge que, a la vegada, donés testimoni tant de les ambicions dinàstiques, com de la riquesa, la posició, la destresa militar i les aspiracions culturals. En definitiva, com es pot legitimar el poder?

Fitxa tècnica

El doble retrat dels ducs d’Urbino és un díptic amb els retrats dels esposos Federico da Montefeltro i Battista Sforza, datat al voltant del 1465-1472. Remarquem que es tracta del primer quadre que es comenta realitzat amb tècnica de pintura a l’oli,[2] i un dels primers retrats renaixentistes.

El retrat doble, un dels retrats més famosos del Renaixement italià, va ser pintat a Urbino, en algun moment imprecís: uns parlen de 1472, altres el situen a la dècada de 1460 a 1470, altres fonts parlen de 1472-1473.

Sembla que el retrat de Federico ja estava acabat el 1465 (com ho suggereix l’absència de signes honorífics: Urbino va ser elevada a la categoria de Ducat pel papa Sixt IV el 1474), mentre que el de Battista Sforza seria a títol pòstum (com ho deixaria entendre la inscripció, en passat), i per aquest motiu datat després del 1472, l’any de la seva mort a conseqüència del part als 27 anys (es diu que es va utilitzar la seva màscara mortuòria per a fer el retrat). A més, la inclusió de Federico suggereix una aspiració a assumir la dignitat ducal, per tant, anterior a l’obtenció d’aquest títol el 1474.

Potser el retrat de Federico va ser realitzat en primer lloc i només després de la mort de la seva esposa, va ser proveït de l’altra taula: prova d’això és un testimoni del 1466 en el qual un carmelita veronès parla d’una «imago eiusdem Principis a Petro burgensis picta» (una imatge d’aquest Príncep pintada per Piero del Borgo). La datació del primer retrat seria propera a la de la Palla di Brera i podria estar feta com un treball preparatori per a aquesta Palla. Aquesta hipòtesi guarda relació amb el retrat de Sigismondo Pandolfo Malatesta (amb un retrat similar de perfil, però sobre un fons negre en lloc de sobre un paisatge) de prop del 1451, pintat en paral·lel  amb el fresc de San Sigismondo e Sigismondo Pandolfo Malatesta per al Temple Malatestià.

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Piero della Francesca: Retrat de Sigismondo Pandolfo Malatesta (condottiero de Rimini), cap el 1451. Oli i tremp sobre taula. 44,5 x 34,5 cm. Musée du Louvre, París

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Piero della Francesca: Sigismondo Pandolfo Malatesta in preghiera davanti a San Sigismondo, 1451. Fresc. 257 x 345 cm. Temple Malatestià, Rímini.

Els raigs X han demostrat que Piero va pintar els personatges dels triomfs (al revers) nus, i vestits en una segona fase. L’ús de la tècnica de pintura a l’oli era innovador per al pintor, tot i que en treballs anteriors havia utilitzat una tècnica mixta d’oli i tremp. L’ús de la tècnica a l’oli pot derivar-se del contacte amb els pintors flamencs de la cort d’Urbino, entre els quals Just de Gant.

Els dos quadres estan ara units en un de sol, però potser originalment formaven part d’un díptic amb tancament de cremallera, que es podia obrir com un llibre. El fet d’estar pintat per les dues cares fa pensar en un objecte privat, més que en un retrat públic per ser penjat, i potser fou encarregat pel propi Federico com un record de l’esposa, com també sembla suggerir un to de certa malenconia de l’obra.

Descripció

En aquests dos retrats relativament petits, Piero intenta una construcció de composició molt difícil, que mai s’havia intentat abans. Darrere del retrat de perfil dels dos governants, que iconogràficament està relacionat amb la tradició heràldica de retrats en medalles, l’artista hi afegeix un extraordinari paisatge que s’estén tan lluny que els seus límits es perden en la llunyania boirosa. No obstant això, la relació entre el paisatge i els retrats a primer pla és molt propera, també en el significat: els retrats, de perfils hieràtics, dominen la pintura a l’igual que el poder dels governants retratats dominen l’extensió dels seus territoris. La gosadia de la composició es troba en aquest sobtat canvi entre aquests plans de perspectiva distant.

La capacitat de Piero per a representar volums va acompanyada per la seva atenció al detall. A través del seu ús de la llum, ens dóna una descripció miniaturista de les joies de Sforza, de les arrugues, pigues i taques de la pell verd oliva de Federico. Igual que en tots els altres retrats del Duc,  només veiem el seu perfil esquerre, un torneig anterior li havia costat el seu ull dret i el pont del nas.

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Anàlisis

Els protagonistes estan representats de perfil[3], com els de les monedes romanes i les medalles, en una immobilitat solemne, banyats en una llum molt clara davant d’un paisatge llunyà i profund, que accentua les figures en primer pla. El seus colls coincideixen amb la línia de l’horitzó, i d’aquesta manera queden vinculats a móns físics tot i que diferents. Federico està situat davant d’un món de llacs, rius i embarcacions; per contra Battista està situada davant d’un paisatge tancat i fortificat.

L’infinitament distant i l’infinitament proper (representat per l’atenció i cura als detalls en els retrats) estan molt ben representats, donant lloc a una realitat superior i ordenada, dominada per lleis matemàtiques que fan aparèixer els éssers humans no com a mortals sinó com a idealment eterns, gràcies a la seva superioritat moral. En el paisatge, la llum és càlida, tant com per envermellir les corbes dels turons.

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Els dos perfils, un davant de l’altre, tenen de fons un paisatge en perspectiva vist des d’un angle superior, que recorda a Jan van Eyck. Aquesta ubicació de les figures en una posició sobre elevada amb un ampli paisatge en el fons no té precedents en la pintura italiana, sinó que és una clara influència flamenca que podem remuntar a la Marededéu del Canceller Rolin.

Les efígies estan inspirades en camafeus de finals de l’imperi romà i en els díptics consulars d’ivori: no és casual que la inscripció comenci amb “Claurs” i acabi amb “Virorum”, recordant les típiques inscripcions de “vir clarissimus” (home molt famós) romà. La llum és única i prové de les espatlles de Federico (en il·luminar el rostre de Battista la fa semblar més blanca).

El retrat de Battista té un color clar[4], amb una pell d’una blancor de cera com imposava l’etiqueta del seu temps: una pell clara era en realitat un signe de noblesa, a diferència de la recremada dels camperols que havien d’estar a l’aire lliure. El front és molt alt, segons la moda de l’època, que imposava un pentinat que començava molt amunt (els cabells s’afaitaven amb el foc d’una espelma), i el pentinat elaborat, amb teles i joies. Piero, com els pintors flamencs, es va recrear en la brillantor de les perles i pedres precioses, donant, gràcies a l’ús de les veladures a l’oli, la «brillantor» (reflex) pròpia de cada superfície, depenent del material.

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El retrat de Federico és més natural: la seva figura és impressionant, emmarcada pel vermell fort del vestit i del barret, que aïlla el perfil, mentre que la forma cònica del barret accentua els efectes de massa volumètrica. El seu cabell és hirsut, la mirada altiva i distant. El nas aguilenc se’l va trencar durant un torneig en què també va perdre el seu ull dret: per això sempre es feia retratar de perfil esquerra. La pell està pintada amb objectivitat imparcial en cada detall, fins les arrugues més petites, inspirant-se en les formes de l’art flamenc. La cort de Federico, sobretot en els anys seixanta del segle XV, va viure l’apogeu del seu esplendor, amb artistes italians i flamencs que treballaven junts, influint-se mútuament.

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En el revers, es representen els triomfs: l’arribada dels esposos a la vila d’Urbino sobre carros al·legòrics, acompanyats per àngels i unicorns, símbols de la castedat i amb escriptures d’homenatge. Eren un dels temes preferits dels humanistes, perquè evocaven el món de l’antiga Roma i estaven plens de referències literàries derivades de l’obra de Petrarca i els seus poemes sobre els Triomfs de l’Amor, la Castedat, la Mort, la Fam, el Temps i la Divinitat[5].

El triomf de Federico, retratat sobre un carro triomfal tirat per dos cavalls blancs, mentre que una Victòria alada el corona de llorer, celebra un govern actiu i viril, personificat per les quatre dones que seuen en el seu carro: la Justícia (de front, amb espasa i una balança), la Prudència (de perfil, amb el mirall) i la Fortalesa (amb la columna trencada) a la part davantera del carro; mentre la  Temprança, vista d’esquena, mira cap un paisatge similar al que apareix en el retrat de Federico a l’altre costat de la taula. Un querubí o cupido guia els cavalls, encara que semblen rebre l’ordre del propi Federico, el qual, vestit amb armadura, branda el bastó de comandament, destacat per la prolongació de la línia horitzontal a través d’un camí al fons. La inscripció en majúscules romanes exalça les virtuts del sobirà: «CLARVS INSIGNI VEHITVR TRIVMPHO QVEM PAREM SVMMIS DVCIBVS PERHENNIS FAMA VIRTVTVM CELEBRAT DECENTER SCEPTRA TENENTEM» (Gloriós aquell a qui la fama eterna de les virtuts celebra com a un igual entre els grans comandaments; és dut en triomf i és digne de portar el ceptre).

Battista també marxa damunt d’un carro davant d’un paisatge que és una continuació del que es mostra en el triomf de Federico, però, un cop més, dominat per la terra més que per l’aigua. Està concentrada en la lectura del que deu ser un llibre d’oracions. La seva inscripció, redactada en pretèrit imperfet, a diferència de la de Federico, que pel fet d’estar viu està escrita en present d’indicatiu, exalta la seva modèstia i el seu paper com a esposa d’un home cèlebre: «QVE MODVM REBVS TENVIT SECVNDIS CONIVGIS MAGNI DECORATA RERVM LAVDE GESTARVM VOLITAT PER ORA CVNCTA VIRORVM» (Aquella que, en circumstàncies favorables, va saber mantenir la seva moderació, és adornada pels elogis generats per les obres que el seu noble marit ha realitzat, és ara lloada per tots els homes). La font de la seva fama és la tradicional virtut femenina de la Castedat emfatitzada amb la presència dels unicorns que tiren del carro, davant del qual, i subratllant la seva pietat, es troba la Fe (vestida de vermell amb el calze i l’hòstia). També s’atorga un lloc preeminent a la Caritat, representada de manera inusual com una dona vestida amb robes fosques i portant un pelicà a la falda, au que segons la llegenda, es va picar el pit fins a sagnar per tal d’alimentar a la seva prole –va tenir nou fills–, una imatge adient per a una dona que va morir als vint-i-sis anys a causa, probablement, de tants embarassos. Les altres dues virtuts podrien ser l’Esperança (d’esquena) i la Temprança (de front).

El paisatge es deriva clarament de la pintura de Flandes, on la boira aclareix les coses més llunyanes (perspectiva aèria) i el cel es difumina cap a l’horitzó, com a l’alba. S’ha  observat que l’escenari està connectat a 360° unint el de Federico amb el del triomf de la seva esposa al retrat de Battista i al  retrat del seu marit (amb algunes incerteses per  existir també correspondències internes entre els dos retrats i els dos triomfs). Es correspondria aproximadament a la vista panoràmica des de la torre oest del Palau Ducal d’Urbino, amb els turons esquitxats de castells i torres entre les valls fèrtils, on s’hi mostren els camps llaurats, i una conca fluvial, que correspon a la desembocadura al mar, on transiten vaixells, donant una imatge viva de les activitats econòmiques del Ducat.

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Les inscripcions commemoratives són plenament autògrafes de Piero; s’evidencia comparant-les amb les signatures d’altres pintures.

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Ubicació en els Uffizi

Bibliografia

Bairati, Eleonora (1994). Piero della Francesca. Madrid. Anaya, Grandes Obras. (Col. Grandes maestros del arte). 100 pàgs.

Bolzoni, Lina (2005).«Les Asolani de Pietro Bembo, ou le double portrait de l’amour». Italique. Poésie italienne de la Renaissance, IX (2006), pàgs. 9-27. En línia a http://italique.revues.org/index103.html

Bozal, Valeriano (2006). Piero della Francesca. Madrid. Arlanza ed. 124 pàgs.

Clark, Kenneth (1995). Piero della Francesca. Madrid. Alianza Editorial. (Col. Alianza forma, 134). 264 pàgs.

De Vecchi, Pierluigi (ed) (1988). La obra pictórica de Piero della Francesca. Barcelona. Editorial Planeta. (Col. Clásicos del arte). 112 pàgs.

Franceschini, Gino (1970). I Montefeltro. Varese. Dall’Oglio. 596 pàgs.

Ginzburg, Carlo (2001). Indagini su Piero della Francesca. Torino. Einaudi. 172 pàgs.

Lévy, Bernard-Henri (2001). Piero della Francesca. Gijón. Trea. 96 pàgs.

Pauli, Tatjana (1999). Piero della Francesca : el compás y el pincel : el alma racional del Quatrocento italiano. Barcelona. Sociedad Editorial Electa España. 144 pàgs.

Ronchey, Silvia (2007). L’enigma di Piero. Milano. BUR Biblioteca Univ. Rizzoli. 552 pàgs.

Tommasoli, Walter (1978). La vita di Federico da Montefeltro. Urbino. Argal. 377 pàgs.

Villa, Roberta (1996). Piero della Francesca. Barcelona. Sociedad Editorial Electa España. 64 pàgs.

Piero della Francesca, The Baptism of Christ, 1450s, http://www.youtube.com/watch?v=qv2K1yk0LCE

RenRev- Piero della Francesca [Part 1]  http://www.youtube.com/watch?v=mVxV_X1Q7dg&feature=related

Piero – Private life of a Masterpiece

http://www.youtube.com/watch?v=BYYMY4s696g&feature=related


[1] Mai va treballar per als Médicis i va estar poc temps a Florència. Actualment se’l valora sobretot com a pintor especialista en frescos, però a la seva època va ser conegut també com un geòmetra i matemàtic, mestre de la perspectiva i de la geometria euclidiana, temes en els quals es va concentrar a partir de l’any 1470.
De Piero di Benedetto dei Franceschi, anomenat també Pietro Borghese, se li coneixen tres textos molt importants, els més científics del segle XV: el De prospectiva pingendi(«Sobre la perspectiva per a la pintura»), Libellus de quinque corporibus regularibus(«Llibret dels cinc sòlids regulars ») i un manual de càlcul titulat Trattato dell’abaco (« Tractat de l’àbac »). Els temes tractats en aquests escrits inclouen aritmètica, àlgebra, geometria i obres innovadores tant en geometria dels sòlids com en perspectiva. En ells es posa de manifest el seu contacte amb Alberti. En aquestes tres obres matemàtiques és present una síntesi entre la geometria euclidiana, pertanyent a l’escola dels erudits, i matemàtica amb l’àbac, reservada als tècnics.

[2] L’oli és una tècnica pictòrica consistent a mesclar els pigments amb un aglutinant a base d’olis, normalment d’origen vegetal. Per extensió, s’anomenen olis a les pintures executades mitjançant aquesta tècnica, que admet suports de molt variada naturalesa: metall, fusta, pedra, ivori, encara que el més habitual és que sigui aplicat sobre una tela.
L’ús de l’oli es coneix des de l’Antiguitat i estava ja estès entre els artistes de l’edat mitjana, encara que de manera minoritària ja que en aquesta època predominava la pintura al tremp o al fresc. A finals del segle XIV i durant el segle XV, es va començar a generalitzar l’ús de l’oli en detriment d’altres tècniques, ja que permetia un assecat més lent de la pintura, correccions en l’execució de la mateixa i una excel·lent estabilitat i conservació del color. Van ser els pintors de Flandes els primers a usar l’oli de forma habitual, i s’atribueix, erròniament, la seva invenció al pintor Jan van Eyck.
L’oli que més s’emprava era el de llinosa, però no era l’únic i cada artista tenia la seva pròpia fórmula que se solia guardar en secret. Normalment s’empra l’essència de trementina com a dissolvent, per aconseguir una pinzellada més fluida o més empastada, segons el cas. Molts van seguir els consells i experiències escrits en el Tractat del monjo Teòfil que ja es coneix i s’esmenta en l’any 1100. Cennino Cennini, en el seu Llibre de l’art, també esmenta i descriu la tècnica.

El suport de lli o cànem en un bastidor de fusta va començar a ser usat a Venècia a les darreries del segle XV. L’ús del suport de tela va assolir el seu màxim apogeu a l’època de l’impressionisme (al segle XIX), atès que resultava pràctic un suport lleuger i fàcil de transportar per a pintar paisatges exteriors a l’aire lliure i poder captar la llum del moment en viu. El suport es prepara, abans de ser pintat, de maneres diferents segons si és de fusta o és de tela. El suport de fusta cal que sigui primer cobert amb una capa de guix. Posteriorment aquesta es raspa i s’hi afegeixen quatre o cinc capes de cola, per a reduir la porositat de la fusta, més una d’imprimatura, és a dir una imprimació de colors secants. La tela, antigament, es preparava mullant-la i, encara humida, s’aplicava una capa de cola (feta amb midó i sucre) abans de deixar-la assecar tot el dia. Al dia següent s’hi afegien dues capes de mescla de guix i cola, primer en horitzontal i després en vertical i es deixava assecar i es raspava.

[3] El retrat de perfil produeix una més gran idealització que el retrat de tres quarts i va ser típic de la pintura italiana de l’època.

[4] La seva pell  és pàl·lida, els seus trets sense vida. Però això té sentit si es tracta d’un retrat pòstum – s’enfronta al seu marit des de l’altra vida. Mostra a Federico en una conversa eterna amb la seva dona morta, una freda associació interminable encara commovedora. Separats per la mortalitat en dos panells, estan en el mateix temps inacabat un sense l’altre.

[5] Paoletti, John T. I Radke, Gary M. (2002). El arte en la Italia del Renacimiento. Tres Cantos. Akal. (Col. Akal/arte y estética). Pàg. 319.

Dr. Joan Campàs Montaner
jcampas@uoc.edu        Aura digital
Estudis d’Arts i Humanitats de la UOC

Materials del Curs L’art dels museus: els Uffizi
1. Desconstruint alguns mites del Renaixement
2. Les corts italianes: el context històric del Renaixement italià
3. Milà i el Renaixement: dels Visconti als Sforza
4. L’Urbino de Federico de Montefeltro
5. La Ferrara dels Este
6. La Màntua dels Gonzaga
7. El regne de Nàpols d’Alfons I
8. La Venècia dels dogo
9. Forència en el Renaixement: bases polítiques i econòmiques

10. Florència en el Renaixement: política i mecenatge
11. Els Mèdici, senyors de Florència
12. Giorgio Vasari: els Uffizi, 1560-1581
13. Maestro della Sant’Agata: Madonna de Pisa
14. Cimabue: Maestà di santa Trinità
15. Duccio: Palla Rucellai
16. Giotto: Madonna Ognissanti
17. Simone Martini: L’Anunciació
18. Gentile da Fabriano: Adoració dels mags
19. Lorenzo Monaco: La coronació de la marededéu
20. Fra Angèlic: Coronació de la marededéu
21. Paolo Uccello: La batalla de san Romano
22. Domenico Veneziano: Sacra conversazione
23. Piero della Francesca: Díptic del duc d’Urbino
24. Filippo Lippi: Coronació de la marededéu
25. Hugo van der Goes: Tríptic Portinari
26. Sandro Botticelli: Judit
27. Sandro Botticelli: L’adoració dels mags
28. Sandro Botticelli: La marededéu del magníficat
29. Sandro Botticelli: El naixement de Venus
30. Sandro Botticelli: Al·legoria de la primavera
31. Sandro Botticelli: Minerva i el centaure
32. Sandro Botticelli: L’anunciació Cestello
33. Sandro Botticelli: La calúmnia d’Apel·les
34. Leonardo da Vinci: L’anunciació
35. Leonardo da Vinci: Adoració dels reis
36. Giovanni Bellini: Al·legoria sacra
37. Miquel Àngel: Tondo Doni
38. Rafael: Madonna del cardellino
39. Ticià: La venus d’Urbino

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  38. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  39. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  46. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  47. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

  48. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  49. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  50. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

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  88. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  89. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  90. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  91. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  92. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  93. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  94. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  95. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  96. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  116. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

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  148. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  149. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  157. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  158. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  159. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  160. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  161. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  162. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  163. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  164. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  165. I want to express my appreciation to the writer just for bailing me out of this type of setting. After looking through the world wide web and getting views that were not beneficial, I assumed my entire life was well over. Existing without the presence of solutions to the difficulties you have solved all through your entire write-up is a crucial case, and ones that might have negatively damaged my entire career if I hadn’t come across your blog. Your own personal mastery and kindness in dealing with all areas was tremendous. I don’t know what I would’ve done if I had not discovered such a step like this. I can now look forward to my future. Thanks for your time very much for this reliable and results-oriented help. I will not hesitate to refer your web site to anyone who requires assistance about this issue.

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  180. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  181. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  182. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  184. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  185. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

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  187. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  188. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  189. Thanks for some other wonderful article. Where else may just anybody get that type of information in such an ideal method of writing? I’ve a presentation next week, and I am on the look for such info.

  190. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  191. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

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  193. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  194. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  195. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  196. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

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  198. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  200. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  201. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

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