His reputation as a patron of the arts and of learning was widely spread.
'To hear him converse with a sculptor,' says Vespasiano, 'you would have thought he was a master of the craft.

In painting, too, he displayed the most acute judgment; and as he could not find among the Italians worthy masters of oil colors, he sent to Flanders for one, who painted for him the philosophers and poets and doctors of the Church.

He also brought from Flanders masters in the art of tapestry.' Pontano, Ficino, and Poggio dedicated works of importance to his name; and Pirro Perrotti, in the preface to his uncle's 'Cornucopia,' draws a quaint picture of the reception which so learned a book was sure to meet with at Urbino.[3] But Frederick was not merely an accomplished prince.

Concurrent testimony proves that he remained a good husband and a constant friend throughout his life, that he controlled his natural quickness of temper, and subdued the sensual appetites which in that age of lax morality he might have indulged without reproach.

In his relations to his subjects he showed what a paternal monarch should be, conversing familiarly with the citizens of Urbino, accosting them with head uncovered, inquiring into the necessities of the poorer artisans, relieving the destitute, dowering orphan girls, and helping distressed shopkeepers with loans.
Numerous anecdotes are told which illustrate his consideration for his old servants, and his anxiety for the welfare and good order of his state.