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Audioguide Rocca Vignola [ENG]
Audioguide Rocca Vignola [ENG]
Brief History of the Fortress
6 JUN 2024 · Audioguide by eArs
Brief History of the Fortress
Welcome to the Fortress of Vignola. Don't be intimidated by the austerity of the walls; the castle will reveal its secrets to you little by little, letting you experience the atmosphere of past centuries first-hand.The fortress stands in a strategic position towering over the flow of the Panaro River, with views of the Apennines: an important crossroads for travellers and goods. Since the 12th century, and perhaps even earlier, it has guarded the border between the territories of Bologna and Modena, as an outpost of border disputes, invasions, bloody battles between the Guelphs and Ghibellines, smuggling, but also a centre of exchange of ideas and cultures.The 15th and 16th centuries were the golden age of the castle and its village thanks to one family, the Contraris, and in particular to one man, Uguccione. As a Ferrarese nobleman of great ambition and undisputed talent, he was given the fiefdom of Vignola in 1401 by the Marquis of Ferrara, Nicolò III d'Este.Thanks to the Contraris' efforts, the Fortress was transformed from a bastion into a real palace: a worthy residence for a family climbing the political and social ranks. In fact, Uguccione's descendants obtained the status of count in 1453, then that of marquis in 1575. A few years after this last achievement, the heirless death of Ercole Contrari, the Younger, marked the end of the Contrari dynasty. Less than two years later, the Bolognese Giacomo Boncompagni, son of Pope Gregory XIII, purchased the fiefdom for the exorbitant sum of 70,000 gold scudi. The Boncompagni family ruled the marquisate for more than two centuries, until 1796, when a new player began to wreak havoc on the international scene: Napoleon Bonaparte...The fortress has been featured in many events in history. If you'd like to learn about them, we suggest visiting the Hall of Coats of Arms on the first floor. So shall we begin exploring?
Enjoy your visit!
Inner Courtyard: Architecture of the Fortress
6 JUN 2024 · Audioguide by eArs
Inner Courtyard: Architecture of the Fortress
You may already be looking up! Indeed, it's impossible to enter the inner courtyard of the fortress without being astonished by the mighty buildings that form it, creating a complex fortified structure that however has a well-balanced layout.Take a look at the walls: you'll immediately notice that from the ground to about halfway up, they are made with pebbles from the Panaro River, while the upper part of the walls is brick. You should know that once Uguccione Contrari arrived, he began work to significantly alter the ancient early medieval fortress. Among these works, the reinforcement and extension of the ancient walls was particularly important. Now look up until you spot the only painted window in the courtyard [pause]. The two animals depicted there, a lion and a leopard, refer precisely to the story of Uguccione... but we're getting ahead of ourselves; we'll talk about that later. While the reception and service rooms were found on the ground floor, the first floor was home to the family's private rooms, which overlooked the courtyard thanks to a refined loggia featuring wide arches. This architectural solution shows how the Contraris not only wanted to defend themselves from external threats, but also wanted to create a comfortable environment.The impressive Nonantola Tower rises above the loggia; it dates back to the 13th century and was also extended in brick in the early 15th century. An overhead passage connects it to the covered patrol walkways, which can still be explored in their entirety today. Although it is the tallest, the Nonantolana is not the fortress's only tower: it is joined by the Torre del Pennello and the Torre delle Donne, meaning Paintbrush and Women's Tower, respectively, and both built by the Contraris.Lastly there's the passageway to the Rocchetta on the north wall of the courtyard, where one of the castle's most strategic endowments was located: the arsenal, which held bows, crossbows, bombards, cannons, incendiary devices and everything else a self-respecting castle could need!
Hall of Lions and Leopards
6 JUN 2024 · Audioguide by eArs
Hall of Lions and Leopards
You have just crossed the threshold of the Hall of Lions and Leopards: official receptions and banquets have been held here since the 15th century.The depictions you see all around you are called 'heraldic deeds': they include symbols, accompanied by mottos, used to represent a person, a family or to commemorate a specific historical event. Let us look at them in more detail.A woven green branch frames a red circle within which you can see a leopard, crouching and leashed to a trunk. A scroll between its paws reads: "chocyr m'esst dyt". This motto in Old French can be translated as 'having to choose' or 'my duty was to choose'.
Uguccione Contrari, the lord of the castle, chose the leopard as his personal symbol in heraldry starting in 1413. But why does such a fierce feline seem so restrained? The explanation is suggested by the other heraldic deed, in which a lion stands proud against a blue background displaying a scroll with a motto in the Germanic language: 'wor bas bas', meaning 'towards the best' or 'going beyond'. This emblem evokes Nicolò III d'Este, the Marquis of Ferrara and Modena. Indeed, he was responsible for awarding the fiefdom of Vignola to his first minister, commander and diplomat Uguccione Contrari. Therefore, even if the two share a strong temperament, there is a substantial difference between them. The leopard, or Uguccione, chose to put his qualities at the service of a higher power: that of the lion of Nicolò d'Este.The agreement between the two houses is symbolically celebrated in the vault, where the Este coat of arms with a silver eagle on a blue background flanks that of the Contraris.
Right in the centre between the two, you can see a medallion depicting the mystical lamb, which lastly reminds us that Nicolò and Uguccione commanded the papal troops, sealing the alliance between the Church and the Este family.
Hall of Doves
6 JUN 2024 · Audioguide by eArs
Hall of Doves
Admire the spectacular flight of doves in this hall. Can you count how many there are?
An impressive 227, depicted everywhere on the walls. These white birds - the quintessential symbol of purity and gentleness, as well as of the presence of the Holy Spirit - are painted on alternating blue and red medallions. They invite viewers to rise through their thoughts and their actions, up to the heavens: 'in Dieu', meaning 'in God', 'towards heaven'. In fact, each bird carries this motto, written on a scroll clasped in its feet and beak.Following the doves' advice, approach the window. And precisely here, where the sunlight - which is associated with divine presence - entered, you will be surprised to discover a corner of Paradise. Painted in the centre of a starry vault, you can recognise the face of the Eternal Father at the top, while the Virgin is crowned by her Son immediately below. Now direct your gaze even further down, where you can see the recess of the window. Columns were painted there, with the shafts intertwining in the centre to create a knot, the meaning of which remains a mystery to this day.Trials were held in this room with such spiritual decorations. That's why the coats of arms of Uguccione Contrari and Nicolò III d'Este were painted alternating on the vault above the judges' heads, as a constant reminder of the name under which justice was administered. Depicted in the middle of a flowery field, the tournament shields of the two lords are marked with their respective crests, with figures surmounting the helmets. These were used so that the knights could be recognised from the stands of the joust: the silver eagle for the Estes and the head of a griffin for Uguccione.
Hall of Rings
6 JUN 2024 · Audioguide by eArs
Hall of Rings
If you look around when you reach this room, you'll notice that the walls are covered with hundreds of diamond rings. That's why this space was known as the 'Diamond Room' in the mid-15th century. If you can't precisely distinguish them, it might help you to know that the rings are intertwined in groups of three, creating a knot called a 'triquetra', with the diamond having a pointy tip. This ancient symbol - certainly alluding to the Trinity - was also meant to suggest the perpetuity of a friendship or love. And even in the Middle Ages, diamonds were considered connected to these two noble sentiments. When set in a gold ring given by a friend, they had the power to ward demonic forces off from the wearer.
So it's not surprising that the Marquis of Ferrara, Nicolò III, granted this heraldic symbol to his most loyal collaborators, such as Uguccione Contrari. The colours chosen for the rings are not random either: indeed, green, white and red are the distinctive colours of the House of Este. As if that weren't enough, the friendship between the lords of Ferrara and the owners of the fortress is reaffirmed again in the vault. If you look up, you'll see the Contrari coat of arms at the intersection of the ribbing in the ceiling, surrounded by four floral medallions with the Este lion emblem that you already saw in the previous room.
Take a close look at the four felines... while three are depicted with their snouts from the side, seemingly walking according to the usual iconography, one is sitting and looking straight ahead. Dismissing the idea that it wants to devour us, in heraldry this is called a 'majestic lion', a symbol of royalty and wisdom. This is a unique example, as the Este lion has never been found depicted elsewhere with this particular heraldic attribute.
Barozzi Hall
6 JUN 2024 · Audioguide by eArs
Barozzi Hall
Narrator: In this hall, we want to leave you in the hands of a special guide honouring us with his illustrious presence.
Jacopo Barozzi: Greetings to you, scholarly visitors! My name is Jacopo Barozzi, have you heard of me? No? Perhaps because I'm known in history by my nickname. Here's a clue: the name comes from the city where I came to light in the anno domini 1507.
That's right, I'm known as Vignola: a versatile architect, hydraulic engineer, painter and one of the most insightful essayists of the Renaissance, in all modesty.I offered my services to popes, sovereigns and lords in Lazio, Emilia, and many other places on the Peninsula, spreading the cult of classicism through the architecture I designed, which has been the source of so much inspiration in the centuries after my time. Among all my exploits, have you ever heard of a certain St Peter's Basilica? I was the one who took over from the divine Michelangelo to complete its construction.You may have noticed the statue dedicated to me in the courtyard, but you'll also find my portrait in one of the display cases here, engraved on the frontispiece of the famous essay The Five Orders of Architecture. If you're passionate about architecture, make sure you catch the plan layout of one of my masterpieces: Palazzo Farnese in Caprarola, with its characteristic pentagonal shape. Indeed, at the behest of Cardinal Alessandro Farnese, I designed the tabernacle for the church of Sant'Antonio Martire in Fara Sabina in 1563. You can admire a full-scale wooden reproduction here: it's a real temple with a central layout... in miniature.I left a precious jewel here in my Vignola: do you want to see it? Simply look out the window to see Palazzo Contrari-Boncompagni. Just think that to build it, 11 houses had to be torn down between 1560 and 1567, including my family's! There’s an extraordinary spiral staircase inside, one of the most sophisticated of the 16th century!
Contrari Chapel
6 JUN 2024 · Audioguide by eArs
Contrari Chapel
You are now standing in the Contrari Chapel, a true jewel of late Gothic art. The painting cycle here was commissioned around 1425, but the name of the artist is still unknown today.Direct your gaze up to the vault.
The four sail vaults depict the Evangelists. Among them, you can recognise John from the beginning of his Gospel, who is using the skill of a scribe to write on a piece of parchment. This small but fundamental detail reveals how both those who painted and those who commissioned the work belonged to a cultured elite, capable of understanding the complex correspondence between the images and the passages of the literary sources, which combine the canonical Gospels with apocryphal episodes, the Acts of the Apostles, and other traditional ecclesiastical texts.Are you ready to embark on a small journey through the history of the Salvation? Let’s start with St John, painted in the sail vault above the entrance door. He is facing a “mandorla” - an almond shaped aura- within which we can glimpse a plant, the tree of life, from which a three-faced figure emerges, which is a reference to the Trinity. In the lunette below, which is unfortunately unfinished, you can see the dove of the Holy Spirit descending on Mary and the Apostles.Returning to the vault, you can see the evangelist Luke turning his back to the altar on which the Paschal Lamb is burning. In the corresponding lunette, you can see the episodes of the Resurrection on the left, with Christ emerging triumphant from the tomb, and the Descent into Hell on the right, showing how after having subdued the devil, Jesus freed all the righteous of the Old Testament from limbo.In the next sail vault we see St Mark sharpening his calamus for writing, combined with the figure of Christ risen. Although we can only glimpse the feet of the Saviour himself here, he ascends to heaven in the lunette below.The last sail vault shows St Matthew, who seems to be pensively watching over the cradle of Baby Jesus. The evangelist looks out to admire the Assumption of Mary beneath him. The Virgin is taken up to heaven by Christ, leaving the Apostles who had come to witness the event on the ground. Only Thomas, who had been absent at the time, asked for a sign of the miracle that had just occurred. Mary thus emerges from Paradise to throw the belt that had wrapped her body in the tomb down to the unbeliever.
Pavilion Hall and Ladies' Hall
6 JUN 2024 · Audioguide by eArs
Pavilion Hall and Ladies' Hall
We hope you’re wearing your best clothes, because you’re about to attend... a wedding.
Take a look around you. You’ll find yourself immersed in a walled garden, with the canopy of tall trees standing out above the walls. The most beautiful flower of all bloomed in this delightful place reserved for the lords of Vignola: the love between Uguccione's heir Ambrogio Contrari and his wife Battistina Campofregoso, daughter of Lodovico, the Doge of Genoa. In the fresco, two guards fold back the drapes of a rich pavilion to reveal the barely visible figures of the bride and groom exchanging their wedding vows. We can only imagine the hustle and bustle of the preparations that kept the entire court busy for the event. Just think how sumptuously dressed the guests were as they admired the fortifications festively decorated to celebrate the wedding held in 1461. The real setting for the event was the castle's 15th-century rooftop garden, which has long since disappeared. It could be reached by a drawbridge connected to the semi-circular structure of the Rocchetta.The vaulted ceiling of the room is a jubilation of laurels and pomegranates, auspicious symbols of victory, fertility and union, surrounding the coats of arms of the bride and groom: for the groom we have the usual coat of arms of the Contraris, while for the bride there’s a shield with two fields, black and silver, grafted into each other by a sequence of waves.Now move into the adjoining room through the door on the wall of the wedding scene [pause]. Known as the Ladies' Hall, it was likely reserved for the consorts of the castellans. You may be interested in the coat of arms of Battistina Campofregoso shown again on the ceiling, while the red one with a shell belongs to Beatrice Rangoni, the wife of Nicolò Contrari, Uguccione’s son and Ambrogio’s brother.
Hall of Dogs
6 JUN 2024 · Audioguide by eArs
Hall of Dogs
Quiet, please; you’ve just entered a painted forest. You are standing in the Hall of Dogs inside Pennello Tower. In fact, you can see some hunting dogs among the trees on the two walls flanking the door. While one greyhound is in hot pursuit of a hare, the others are depicted facing each other, looking like they’re about to charge. So you could say that they’re one against the other, and in Italian the word against is translated as contro. This play on words can also be found in other rooms of the fortress, perhaps intended to illustrate the surname Contrari.
Now let’s get back to the hall you’re standing in. Man's best friend has always been associated with the virtues of loyalty, constancy and vigilance. In fact in ancient times, dogs were entrusted with the defence of the house and their master, as well as caring for the flock.
Did you know that in the Middle Ages it was customary for lords to own many, many dogs, used especially for hunting? The pastime was certainly a favourite among the Contraris as well. It’s almost as if you can still hear them barking as they run in the woods and meadows surrounding the fortress. Who knows how many hunting parties the lords of Vignola embarked on in their grounds? Even Marquis Nicolò III would go on the hunting expeditions during his several summer stays at the castle, followed a few years later by Duke Borso d'Este, in the company of the Marquis of Mantua, Lodovico Gonzaga and his son Federico.
Uguccione’s sons Nicolò and Ambrogio Contrari likely used this space as a study hall in the second half of the 15th century. Confirming this, the coats of arms of their respective consorts that we saw in the Ladies’ Hall appear on the vault here, flanked by the coats of arms of the Contraris and the Pardo emblem.
Hall of Coats of Arms
6 JUN 2024 · Audioguide by eArs
Hall of Coats of Arms
All those who had the privilege of Uguccione Contrari's presence would certainly have stood under the vaults of this large hall, which is where the lord of the castle granted private audiences.
As if it were necessary to once again assert ownership of these spaces without a shadow of a doubt, the walls and ceiling are entirely covered with the family’s coat of arms. You’ll have seen it everywhere at this point, but now it’s time to take a closer look. The tournament shield is 'quartered', meaning divided into four parts. The two cantons on the upper right and lower left depict the Contrari coat of arms, consisting of a sequence of alternating gold and light blue diamonds: in heraldic Italian jargon this attribute is called 'fusato in banda’.
In the other two cantons, the Este coat of arms dominate in a position of honour, namely the silver eagle on a blue background. This concession was granted by Marquis Nicolò III d'Este as a reward for performing special services.
The intertwined green branch wrapping around the coat of arms may allude to what is called the ‘siege crown', which was worn by leaders in ancient times.
See the coat of arms above the large fireplace? You’ve probably also noticed it in other rooms. This coat of arms represents the Boncompagni Ludovisi princes, owners of the fortress from 1577 to 1965. The figure of the golden dragon stands out in the shield. According to legend, this demonic mythological creature was believed to be born when one snake devoured another. To exorcise this evil aura, in 1584 Giacomo Boncompagni, the son of Pope Gregory XIII, adopted the motto 'non devorato serpente', meaning 'did not devour a snake'. This explanation allowed the dragon to take on the figure of a benevolent creature, generated by divine will.
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