Vignola Fortress

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The Chapel

The exhibition held in Vignola, "Nicolò III time. The frescoes of the Fortress of Vignola and the Late Gothic painting in the Este lands”, has contributed to make order among all the hypothesis regarding the true identity of the “Maestro di Vignola”, even if it has not contributed with new facts  helping to sort out once for good the Chapel painter’s name.
The frescoes wanted by Uguccione Contrari in his castle, represent an important milestone of the cultural scenario of those years, even if no further traces were left in the area by the artist in charge of the decorations. Probably Uguccione, vassal and minister of Nicolò III, chose among the artists of the Marquis of Ferrara’s court. Notwithstanding the fact that there are historical documents left by IX century chroniclers, Campori and Venturi, there are not sure evidences on the identities of these artists.
To make all more complicated, it is noteworthy that in the XV century shops activities were kept totally separated even if only one was the boss; quite often the less relevant painters were charged with finishing the decorations designed by well known artists. The Chapel is tiny, but extremely interesting for the richness and originality of the paintings decorating the upper part, Christ’s stories. The lower part according to Sanpaolesi was originally covered with wood upholstery.

On the Chapel four walls, the moments following Christ’s death are represented:

• The Resurrection and the Descent to the limbo,
• The Ascension,
• The Virgin’s Assumption,
• The Pentecost.

The cross vault is painted with the images of the Evangelists (Mark, Luke, Matthew and John) and episodes of the Savior’s life. Each Evangelist image is matched with a corresponding theme located below. Mark is close to the altar and to the Mystic Lamb symbolizing Christ’s sacrifice triumphing on Death. Luke is matched to the image of the Risen Christ surrounding the drama of the Ascension, which in the lower lunette focuses on Apostles’ dismay in front of the Resurrection mystery. 
Matthew is balanced by the craddle with the blessing Jesus Christ next to the lunette with Madonna’s Assumption. John gazes upon the Holy Trinity in the almond shaped frame, represented with three identical faces hovering on the life tree next to the solemn descent of the Holy Spirit on Madonna and the Apostles.
The Chapel architectural structure influences the space available for paintings, imposing irregularities and asymmetricities perfectly mingling with the narration rhythm, only apparently free, in reality geometrically rigorously driven to challenging and fancy realizations. The frescoes are crossed divided and precious oval and circular motifs decorate the frames.

This setting reminds of the miniature, either for the composition or the executing technique. As far as paintings dating, the only solid element is the year 1441 because it is difficult to believe that Uguccione decided to establish his dwelling inside the Fortress after Nicolò’s death, if the works had not been completed yet. This was the time when the “Panaro River sentinel”, in consideration of the military features above all, turned to be the official dwellings of noblemen used to the richness and grandeur of the Ferrara’s court.
But the painting analysis and the comparison with the works expression of the artistic sensitivity of those decades, suggest an earlier date: within the 3rd decade of the 15th century. The Vignola’s paintings should date back to this moment, to be considered the most valuable, but not unique, example of the figurative art of Nicolò III’s time.
The cultural milieu taken under examination is Giovanni da Modena’s, evidenced by the typical accent from Emilia and by the neo-Giottism (intended as retrieval of iconographic archaisms typical of the local production). The complexity and richness of Vignola’s paintings are nurtured by other sources as well. First of all by Pisanello’s art for the extraordinary naturalism, sometimes really amazing, of the details. Another example is provided by the sleeping soldiers bent on their shields, in the Resurrection and Limbo’s Descent lunette. Their soft and human way of abandoning to sleep emerges thanks to the attention to every tiny detail.

It is noteworthy the strong touch from Lombardy, detected by all critics,  in the Vignola cycle which can be referred to the presence of Belbello at the Este court working on the Nicolò III’s Bible (1430/34). Belbello’s connection to the culture of Emilia goes back to an earlier date than his last stay and probably can be linked to the anonymous miniaturist’s life, often confused with him: the Master of  San Michele a Murano, to whom surely Belbello refers to.
The comparisons between the Maestro di Murano’s works and the Vignola’s figures are so strongly effective not to leave doubts about a direct relation between miniaturist and painter. So much so that Ms.Padovani prudently hypothesize that it was the same hand to paint or the hand of  someone close enough to the Maestro di Vignola’s art.
The characters’ features have more in common with Maestro di Murano’s miniatures, in terms of sensitive, subtle, passionate expressive violence, rather than with Giovanni da Modena’s and Belbello’s.

Surrounding the characters with tense emotion, true expression of his genuine inspiration, the artist has never turned to roughness. Even with these introductory remarks, the Vignola’s cycle cannot be analyzed in the Este figurative culture context. The most immediate comparison is with the paintings of the two Chapels, Saint Martin and Saint Catherine, inside the Chiesa della Sagra in Carpi contemporaneous to Vignola’s frescoes. This analogy is especially with the second Maestro who painted the stories of  Saint Catherine Chapel’s lower section and who the Maestro di Vignola had more connection with.
Analogies are extended to include another geographical area: Ferrara. The proof is provided by the Resurrection in the Oratory of Saint Apollinar, first attributed to Pisanello then to Maestro di Vignola and only lately to Antonio Alberti (painter of Saint Martin’s Chapel in Carpi).

These different hypothesis confirm anyway a common milieu, the Este Court, where the production of each artist is strongly entwined with the critical path of another artist and confirm also the Maestro di Vignola’s influx on Ferrara painters in 1430.  They are extremely sensitive to this expressing art, shaped on the most important late gothic artists of the second decade.
No doubts he is the creator of a very personal synthesis, favored and understood by his social environment.
The Maestro di Vignola, no matter who he was, had an incredible talent, manifested by all his works and also by numerous details. To name just one, the original art of the Virgin Assumption’s almond shape framing Christ carrying the Madonna.

The celestial Lady, always represented young, is here instead an old lady with dark complexion, more similar to a corpse than to a triumphant being. In the lunette above the window the Christ’s Ascension is peculiarly represented: only the feet and the dress brim are painted. In the ceiling vaults, the Evangelists in unconventional attitudes are hovering on curious verdure clouds. Another curious detail is the presence in the Virgin’s Assumption frame of a small building decaying among rocks and bushes.
The local agiography has always recognized it as the old local Chiesa Madre di Vignola, that tiny church named S. Martino in Centum Ripis which, after an important past, became totally desolated at the time of the Maestro di Vignola.

These well preserved paintings have not been seriously restored yet, but the performed tests revealed under the fatty materials used to better preserve them at the beginning of the century, very fascinating colors; only now a very important restoration school has been entrusted with the cleaning, fixing of the paintings; besides creating environmental conditions apt to preserve them for the posterity.