This article retraces the history of the Confraternita di San Rocco (Confraternity of St. Roch) in Modena from its foundation in the late fifteenth century to its abolition in the eighteenth century. Thanks to newly examined archival documents, the article details the building and decorative work supported by the confraternity for the construction and decoration of the oratory. The result is a varied picture of the craftsmen responsible for the work, which was carried out by minor, lesser-known artists such as the foremen Paolo Bisogni and Giovanni Battista Biavardi. The confraternity's scarce resources were constantly invested in structural interventions on the walls, which were periodically threatened by water from the underlying canal. Nevertheless, the documents also reveal the members' commitment to decorating the interior. The three altars completed between the seventeenth and eighteenth centuries involved stuccoists such as Sebastiano Caula and Giovanni Antonio Franchini, as well as artists Marco Antonio Mazzarini, Flaminio Veratti and the more famous Giulio Secchiari and Sigismondo Caula, who created two monumental altarpieces. This article provides some new information about the patrons and their respective chronology.
The thesis is about the cultural links between Paris and Modena during the government of Francesco I (1629-1658) and Alfonso IV (1658-1662) and explains how the French artists at the Este court contributed to define the image of ducal power. The diplomatic correspondence of Abbot Ercole Manzieri, resident of François I in Paris in 1650, revealed an intense traffic of portraits, jewelry and clothes that came from Paris to Modena, testing a large French influence on the taste and the Este costume. Outlining the links between the two courts, the thesis deals with the figure of Girolamo Graziani, poet and secretary of state at the service of the Este and, at the same time, sponsored by Louis XIV for some panegyrics not well known until now. The study then focuses on the activities of Jean Boulanger, first painter of Francesco I, clarifying his formation and his role at the Este court. This work focuses on his paintings in the Palazzo Ducale in Sassuolo and, in particular, the Bacchus gallery, that turned out to be inspired by french models for its architecture, iconography and function. The last section is dedicated to 'French' commission by Alfonso IV and focuses on Boulanger decorative cycle in the lost ducal villa of Pentetorri, analyzed for the first time in its organic structure, and on the funeral that Alfonso wanted to commemorate his deceased father as immortalized in the Idea di un prencipe. This work, one of the leading printing examples of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations in which several artists took part, including French artists, whose names and ways of recruitment are specified here as well. ; La thèse reconstitue les liens culturels entre Paris et Modène pendant les règnes de François Ier (1629-58) et Alfonso IV (1658-62) et explique comment les artistes français à la cour des Este ont contribué à la définition de l'image du pouvoir ducal. La correspondance diplomatique de l'abbé Ercole Manzieri, résident de François Ier à Paris, a ...
The thesis is about the cultural links between Paris and Modena during the government of Francesco I (1629-1658) and Alfonso IV (1658-1662) and explains how the French artists at the Este court contributed to define the image of ducal power. The diplomatic correspondence of Abbot Ercole Manzieri, resident of François I in Paris in 1650, revealed an intense traffic of portraits, jewelry and clothes that came from Paris to Modena, testing a large French influence on the taste and the Este costume. Outlining the links between the two courts, the thesis deals with the figure of Girolamo Graziani, poet and secretary of state at the service of the Este and, at the same time, sponsored by Louis XIV for some panegyrics not well known until now. The study then focuses on the activities of Jean Boulanger, first painter of Francesco I, clarifying his formation and his role at the Este court. This work focuses on his paintings in the Palazzo Ducale in Sassuolo and, in particular, the Bacchus gallery, that turned out to be inspired by french models for its architecture, iconography and function. The last section is dedicated to 'French' commission by Alfonso IV and focuses on Boulanger decorative cycle in the lost ducal villa of Pentetorri, analyzed for the first time in its organic structure, and on the funeral that Alfonso wanted to commemorate his deceased father as immortalized in the Idea di un prencipe. This work, one of the leading printing examples of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations in which several artists took part, including French artists, whose names and ways of recruitment are specified here as well. ; La thèse reconstitue les liens culturels entre Paris et Modène pendant les règnes de François Ier (1629-58) et Alfonso IV (1658-62) et explique comment les artistes français à la cour des Este ont contribué à la définition de l'image du pouvoir ducal. La correspondance diplomatique de l'abbé Ercole Manzieri, résident de François Ier à Paris, a révélé le trafic intense des portraits, des bijoux et des vêtements expédiés de Paris à Modène, certifiant une profonde influence française sur le goût et le costume des Este. En décrivant les liens entre les deux cours, la thèse traite de la figure de Girolamo Graziani, poète et secrétaire d'État au service des Este et, en même temps, salarié de Louis XIV pour des panégyriques négligés jusqu'à maintenant. L'étude se concentre ensuite sur Jean Boulanger, premier peintre de François Ier, dont la formation et les commandes ducales sont clarifiées. L'accent est mis sur ses peintures dans le Palazzo Ducale de Sassuolo et, en particulier, sur la galerie de Bacchus, dont l'architecture, l'iconographie et la fonction se sont révélées inspirées par des modèles français. La dernière section est dédiée aux commandes « françaises » d'Alfonso IV et se concentre sur les fresques de Boulanger dans la villa ducale de Pentetorri, cycle disparu et analysé entièrement pour la première fois, et sur les funérailles voulues par Alfonso pour commémorer son père et décrites dans l'Idea di un prencipe. Cet ouvrage, l'un des plus prestigieux du XVIIe siècle, modèle l'image du pouvoir ducal grâce à un riche répertoire d'illustrations qui a vu la participation de plusieurs artistes, notamment français, dont les noms et les modes d'engagement sont spécifiés.
La tesi ricostruisce l'attività degli artisti francesi alla corte estense durante il governo di Francesco I (1629-1658) e Alfonso IV (1658-1662) e la iscrive nel più ampio quadro dei legami politici e culturali tra Parigi e Modena per illustrare il contributo francese alla definizione dell'immagine del potere ducale. Lo spoglio del carteggio diplomatico dell'abate Ercole Manzieri, residente di Francesco I a Parigi a partire dal 1650, ha permesso di documentare gli intensi traffici di ritratti, gioielli e abiti che da Parigi giunsero a Modena, attestando una cospicua influenza francese sul gusto e sul costume estense. Come Manzieri, anche Girolamo Graziani, poeta e segretario di stato, fu impegnato come ambasciatore. La tesi indaga i panegirici da lui composti in lode di Luigi XIV e ne illustra la genesi, prima di focalizzarsi su Jean Boulanger, primo pittore di corte di Francesco I. Chiarita la sua formazione e i suoi primi incarichi a corte, l'attenzione è rivolta alle sue pitture nel Palazzo Ducale di Sassuolo, privilegiando la Galleria di Bacco, di cui si definiscono l'architettura, l'allestimento e la funzione. Nell'ultima sezione la tesi ricompone la committenza 'francese' di Alfonso IV e si concentra sull'ultimo ciclo decorativo di Boulanger nella perduta villa ducale delle Pentetorri. Nuovi documenti hanno permesso di collocare le sale dipinte dal francese nello spazio della villa e di leggere, per la prima volta nella sua organicità, l'iconografia del ciclo. Seconda monumentale impresa di Alfonso fu la commissione delle solenni esequie in onore del padre defunto, immortalate nell'Idea di un prencipe del gesuita Domenico Gamberti (1659). Quest'opera, tra le più prestigiose imprese tipografiche del Seicento, plasma l'immagine del potere ducale anche grazie a un ricco repertorio di illustrazioni che videro il coinvolgimento di diversi artisti, anche francesi, di cui si precisano i nomi e le modalità di ingaggio. ; The thesis deals with the work of French artists at the Este court during the reign of Francis I (1629-1658) and Alfonso IV (1658-1662) and the broader context of political and cultural links between Paris and Modena to illustrate the French contribution to the definition of the image of ducal power. From the study of the diplomatic correspondence of Abbot Ercole Manzieri, resident of Francesco I in Paris from 1650, it resulted that Modena was among the first courts to comply with the fashion and customs of France. The thesis investigates the panegyrics that Girolamo Graziani, secretary of state, poet and ambassador of the Este court, composed in praise of Louis XIV, before focusing on the artistic path of Jean Boulanger, who was the first court painter of Francesco I. The research first clarifies his initial formation to focus then on his paintings in the Palazzo Ducale in Sassuolo, especially on the Bacchus Gallery. In the very last section, the thesis deals with the 'French client' Alfonso IV and it focuses on the latest Boulanger decorative cycle in the lost Villa ducale of Pentetorri. Documents only partially known allowed to place the rooms painted by Boulanger in the space of the villa and to read for the first time the entire cycle iconography. Second monumental Alfonso enterprise during his short reign was the solemn commission funeral for his deceased father as immortalized in the Idea di un prencipe of the Jesuit Domenico Gamberti (1659). This work, one of the most prestigious of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations. If the original project is up to Jean Boulanger, for their engraving onto copper more French engravers were involved, whose names and modes of engagement are specified in this work as well.
