{{Short description|Art museum in Modena, Italy}} {{Use dmy dates|date=February 2020}} {{Infobox museum | name = Galleria Estense | image = Palazzo_dei_Musei.jpg | caption = Frontal view of Palazzo dei Musei | image_size = 225 | map_type = | coordinates = {{coord|44.6485|10.9216|display=inline}} | established = 1894 | dissolved = | location = Largo Porta Sant'Agostino, 337 <br />41121 Modena, Italy | type = Art museum, Historic site | visitors = | director = | curator = | public_transit = | website = {{URL|www.gallerie-estensi.beniculturali.it}} | logo = | former_name = }} The '''Galleria Estense''' is an art gallery in the heart of Modena, centred around the collection of the d’Este family: rulers of Modena, Reggio and Ferrara from 1289 to 1796. Located on the top floor of the ''Palazzo dei Musei'', on the St. Augustine square, the museum showcases a vast array of works ranging from fresco and oil painting to marble, polychrome and terracotta sculpture; musical instruments; numismatics; curios and decorative antiques.
It was publicly established in 1854 by the last duke, Francis V of Austria-Este, and was relocated in 1894 to its current situation from the Palazzo Ducale.
Since 2014, the Gallery has formed a part the Gallerie Estensi, an independent complex of museums merging the Biblioteca Estense, and the Estense Lapidary Museum in Modena, the Palazzo Ducale in Sassuolo and the Pinacoteca Nazionale in Ferrara. Together, they reflect the progressing tastes of an Italian court of nobility.<ref>{{Cite web|url=https://www.gallerie-estensi.beniculturali.it/gallerie-estensi/storia/|title=Storia {{!}} Gallerie Estensi|website=www.gallerie-estensi.beniculturali.it|language=it|access-date=2019-07-23}}</ref>
== Description == The Estense Gallery consists of sixteen exhibition rooms with four large salons arranged thematically. The collection houses an eclectic range of oeuvres executed by both notable and local artists. Although for the most part centred around Italian painters, it also includes a modest number of Flemish, German and French artworks (Workshop of van Eyck; Aelbrecht Bouts; Charles Le Brun), as well as non-Western examples from Sierra Leone and Iran.
Among the decorative objects of note, the mannerist "Estense Harp" stands out. A rare musical instrument, the double harp's 148 cm were crafted entirely by hand through a collaboration between five Ferrarese and Flemish artists: Giacometti, Marescotti, Bastarolo, Rosselli and Lamberti. It then comes as no surprise that it featured on Italian 1,000 lire banknotes next to Verdi from 1961 to 1981.<ref>Citation error. See inline comment how to fix. {{verify source |date=September 2019 |reason=This ref was deleted Special:Diff/907516264 by a bug in VisualEditor and later identified by a bot. The original cite can be found at Special:Permalink/907506149 (or in a rev close to it) as cite #2 – find and verify the cite and replace this template with it (2). User:GreenC bot/Job 18}}</ref> The gallery also houses a ''Madonna and Child'' and a ''Telamon'' by the Modenese sculptor Wiligelmo, an 18th-century coral nativity scene and a still-life carved in wood celebrating the ascension of James II of England.<ref>Citation error. See inline comment how to fix. {{verify source |date=September 2019 |reason=This ref was deleted Special:Diff/907516264 by a bug in VisualEditor and later identified by a bot. The original cite can be found at Special:Permalink/907506149 (or in a rev close to it) as cite #3 – find and verify the cite and replace this template with it (2). User:GreenC bot/Job 18}}</ref> [[File:Galleria estense, sala del seicento emiliano 02.jpg|thumb|The late 17th-century Emilian painting room with newly installed lighting juxtaposes paintings and musical instruments: Reni's ''Crucifixion'' and oval ceiling panels from Virginia de Medici's apartment in Ferrara with Galli's carved string instruments and Grandi's Carrara marble harpsichord.]]
=== History ===
==== Cesare I ==== In 1598, the Este dukes were forced to yield their seat of Ferrara to Pope Clement VIII and the capital of the dukedom was relocated to Modena. Duke Cesare tried to bring with him as much of the Este inheritance as possible, including many cases full of rare and precious objects.
As for the remaining works in Ferrara, Cesare, who was perhaps not as fond of art patronage as his ancestors, did not hesitate to donate large parts of the collection to seek favour with powerful political figures, notably the Cardinal Borghese and Ferdinand II, Holy Roman Emperor.<ref>{{Cite web|url=https://www.castelloestense.it/en/the-castle/the-history/the-este-family|title=The Este Family — English|website=www.castelloestense.it|access-date=2019-07-22}}</ref>
==== Francesco I ==== Francesco I, successor of Alfonso III, was a man of great ambition. He was determined to both regain Ferrara and restore the artistic atmosphere characteristic of the Ferrarese court in Modena.<ref>{{Cite web|url=https://www.britannica.com/topic/House-of-Este|title=House of Este – Alfonso I|website=Encyclopedia Britannica|language=en|access-date=2019-07-22}}</ref> For the new capital of the diminished Duchy of Modena and Reggio, he envisioned an imposing ducal residence, entrusting the project to Bartolomeo Avanzini. The Roman architect was advised by Bernini, whose engagement with the Pope prevented him from accepting the task.<ref name=":23">{{Cite web|url=http://www.treccani.it//enciclopedia/francesco-i-d-este-duca-di-modena-e-reggio_(Dizionario-Biografico)|title=FRANCESCO I d'Este, duca di Modena e Reggio in "Dizionario Biografico"|website=www.treccani.it|language=it-IT|access-date=2019-07-22}}</ref>[[File:Sala Gian Lorenzo Bernini Ritratto di Francesco I d’Este galleria Estense (Modena).jpg|thumb|View upon entering the Gallery. Bernini's bust of Francesco I d'Este, widely considered a seminal example of Baroque portraiture, cornerstones the first and second rooms displaying Greco-Roman antiquities, followed by altarpieces and polychromy from the fourteenth century.<nowiki/>|alt=]]During a diplomatic trip to Spain, Francesco had his portrait painted by Diego Velázquez, a work which remains a precious treasure of the Estense collection. An equally revered marble portrait executed by Bernini now welcomes viewers entering the gallery. Not only does it effortlessly capture the duke's likeness and ''bravura'', Bernini also never once laid eyes on his subject in the flesh, using effigies by Justus Sustermans and Jean Boulanger as prompts instead. To overcome the reluctance of the sculptor, who in a letter to the duke's brother, Cardinal Rinaldo, judged the task as not only extremely difficult but reckless, an exorbitant sum of 3000 ''scudi'' was offered, the exact amount paid to Bernini by the Pope Innocent X for his Four Rivers Fountain in Rome.<ref name=":04">{{Cite book|title=La Galleria Estense|last=Casciu|first=Stefano|publisher=Franco Cosimo Panini|year=2015|isbn=978-88-570-0997-1|location=Modena|pages=7–11, 13, 16–26, 80, 94}}</ref><ref name=":23"/>
Other valuable works donated or purchased by the duke joined the collection at this time, such as paintings by Paolo Veronese, Salvator Rosa, Hans Holbein and another marble bust by Bernini, this time dedicated to his lover.
Ever the art lover, Francesco began appropriating paintings from churches and monasteries within the duchy: a habit to be routinely adopted by his successors in the years to come. The works were replaced by second-rate copies, often veiled from the eyes of the priests who tried to resist. Pieces by Correggio, Parmigianino and Cima da Conegliano all entered into the ducal collection in this way.<ref name=":23"/>
==== Francesco I's successors ==== Francesco's son Alfonso IV was the first to open the gallery to the public. His wife Laura Martinozzi, granddaughter of Cardinal Mazzarino, became regent to the duchy on the death of her husband, given their son, Francesco II, was only two years old. The duchess did not contribute to the gallery purchases, dedicating herself for the most part to charitable works and the construction of churches and convents, with the aim of repairing a state severely affected by the outbreak of plague and the Thirty Years' War.
The gallery was not enriched, but depleted during the successive reigns of Francesco II. In order to raise funds, the duke decided to sell the finest pieces of the collection to Augustus III of Poland for the considerable sum of 100,000 Venetian ''zecchini'' (the equivalent of around 650 kg of gold).<ref>{{Cite book|title=Standard catalog of world gold coins : with platinum and palladium issues, 1601–present|date=2009|publisher=Krause Publications|others=Čuhaj, George S.|isbn=9781440204241|edition= 6th|location=Iola, WI|oclc=555617090}}</ref> Thus, in July 1746, works by Giulio Romano, Andrea del Sarto, Rubens, Velázquez, Holbein, Titian, Parmigianino, Correggio, Guercino, Guido Reni, Carracci, and many others embarked for Dresden. Such works may still be admired in the Gemäldegalerie Alte Meister today. Neither was Rinaldo I, his uncle and successor, able to enrich the duchy artistically.<ref>{{Cite web|url=http://www.treccani.it//enciclopedia/francesco-ii-d-este-duca-di-modena-e-reggio_(Dizionario-Biografico)|title=FRANCESCO II d'Este, duca di Modena e Reggio in "Dizionario Biografico"|website=www.treccani.it|language=it-IT|access-date=2019-07-22}}</ref><ref name=":04"/>
Ercole III and his predecessor, Francesco III, used the same pillaging method as Francesco I to salvage the gallery: depredating the duchy's churches, but also aided by the use of raw impositions. One such example lies with Niccolò dell'Abbate’s frescoes detached from the walls of the Rocca di Scandiano, from which some paintings also arrived.
==== Napoleonic interlude ==== Such was the reputation of the d’Este collections, (the French ''letterato'' Charles de Brosses considered it "undoubtedly the finest in Italy”<ref name=":04"/>) it also attracted the eye of Napoleon. At the Armistice of Cherasco, he decreed that twenty of the Estensi paintings should go to Paris as payment for expenses of war incurred during his Italian campaigns of 1796. After a few months, the number increased to seventy. This period marks the most significant ransacking of Modena's collections of paintings, drawings, archival books, and the d'Este's glyptic collection.<ref name=":04"/>
On 14 October 1796 Napoleon entered Modena with two new commissars, Pierre-Anselme Garrau and Antoine Christophe Saliceti. Both went several times to sift through the Gallery of Drawings and Medals in the Palazzo Ducale, selecting works cited by visitors to the palace. Gilded enamel cameos and engraved semi-precious stones were sent to the Louvre and to their own estates. Some drawings were delegated to Modena's Academy of Fine Arts for didactic purposes, however an overwhelming number were sent to Paris, where they have remained ever since. Of the previously enviable selection reflecting high Renaissance practices which included the likes of Correggio, Parmigianino, Giulio Romano, Perino del Vaga, the Carracci brothers, Botticelli's ''Calumny of Apelles,'' and a ''Judgement of Solomon'' by the workshop of Mantegna, only 700 remain. Currently housed in storage in Modena, the digital collection may now be viewed on the gallery's website.<ref>{{Cite journal|last=Bentini|first=Jadranka|last2=Sartarelli|first2=Stephen|date=1998|title=Reunion at Sassuolo|journal=Art on Paper|volume=3|issue=1|pages=20–21|issn=1521-7922|jstor=24557278}}</ref>
On 17 October, 94 volumes were chosen to be transferred from the ducal library to the Bibliothèque Nationale in Paris, including numerous manuscripts and ancient codices. Napoleon personally took two 16th to 18th-century editions of Caesar's ''Commentarii'' whilst rapidly passing through Modena.<ref>{{Cite book|title=The Estense Library in Modena|last=Milano|first=Ernesto|publisher=Nardini Editore|year=1987|location=Firenze|pages=38}}</ref> As for the collection of coins, the Bibliothèque received 900 imperial bronze coins, 124 of which were from Roman colonies; 10 silver; 31 incised; as well as 44 Greek and 103 from the Papal mint. Napoleon's wife Joséphine followed suite. During her sojourn in Modena's Palazzo Ducale in February 1797, she was unsatisfied with merely 'looking at' the numismatic collection. The empress took about two hundred, in addition to those selected by the court members of her husband who accompanied her.
Numerous paintings of the Emilian school such as Guercino’s altarpiece depicting Modena’s patron saints (1651) and his ''St. Paul'' (1644), as well as ''The Purification of the Virgin'' by Guido Reni, ''The Virgin Appears to Saints Luke and Catherine'' (1592) by Annibale Carracci, ''The Dream of Job'' (1593) by Cigoli, ''The Mocking of Christ'' by Giambologna and others never returned. It is estimated that 1,300 pictures were exported to the Louvre.
==== Restoration ==== From his exile in Treviso, Ercole III sold various objects he had brought with him, but he also made some additions to his collection, in an attempt to remedy the Napoleonic plundering. With the restoration of Duke Francis IV of Austria-Este in Modena and the Treaty of Paris (1815) came the recovering of many important works. Only 21 paintings previously part of the Estense collection returned to Modena, in addition to two new paintings acquired as remuneration by Charles Le Brun.
On the backdrop of the Church's diminishing status came the growing trend for art collection as a means of upholding the local authority of the nobility. Francis IV thus contributed works to the gallery from nearby towns through the tried and tested Este method of looting churches. In 1822, a newfound interest in early Italian "Primitive" paintings prompted the acquisitions from the rich collection of Marquis Tommaso degli Obizzi, including works by Barnaba da Modena, Apollonio di Giovanni, Bartolomeo Bonascia and Francesco Bianchi Ferrari. His son Francis V also made some new purchases and reopened the gallery relocated during the reign of his father to the Palazzo Ducale.<ref name=":04"/>
==== From 1859 to today ==== With the unification of Italy in 1859, the Este line came to an end.
During the transition there were inevitably some losses and thefts. Luigi Carlo Farini, reigning dictator over the Modenese provinces on behalf of the new Italian government, was accused by some of having appropriated valuables kept in the Palazzo Ducale in which he and his government resided, although it is as of yet unclear on what grounds such allegations were made.
In 1879, the palace became the headquarters of the Military Academy, depriving the city of its use. The gallery was forced to relocate to the eighteenth-century palace built by Francesco III, now known as the ''Palazzo dei Musei'', where it coexists with the Lapidary Museum, the Civic Museum and Archives on the ground floor and the Estense library on the third floor.
The gallery's itinerary has undergone several rearrangements over the years, with the curation of the rooms remaining in a constant state of revision. A notably recent change occurred following the earthquake in May 2012. After a three-year renovation period, it was reopened to the public in 2015. Never-before-seen works were retrieved from storage, new lighting and a microclimate system supporting the conservation of exhibits and digital displays were installed, ensuring the Estense Gallery remains a nucleus of culture to both locals and tourists travelling off the beaten track on their way from Venice to Rome.<ref name=":04"/>
== Collection == * ''Bust of St. Monica'' by Niccolo dell'Arca * ''Nativity with the Two Midwives'' by Pellegrino Aretusi *''Tancred baptizes Clorinda'' by Sisto Badalocchio *Terracotta sculptures by Antonio Begarelli *''Bust of Francesco I d'Este'' by Gian Lorenzo Bernini *''Crucifixion'' and ''St. Christopher'' by Aelbrecht Bouts *Miniatures by Anna Campori *Engraved portrait miniature by Rosalba Carriera *''Madonna and Child with St. Anne'' by Joos van Cleve *''Lamentation with St. Francis and St. Bernardino'' by Cima da Conegliano *''Madonna Campori'' and others by Correggio *''The Nativity'' by Battista Dossi *''The Jester; panels from Alfonso d'Este's Bedroom Ceiling;'' ''Ercole d'Este'' and others by Dosso Dossi *''Modena Triptych'' by El Greco *''Hercules on Horseback'', sculpture by Bertoldo di Giovanni *''Madonna and Child'' by follower of Jan Gossaert *A Carrara marble Guitar and Harpsichord by Michele Antonio Grandi *''Martyrdom of St. Peter''; ''Venus, Cupid and Mars'' and others by Guercino *''Portrait of the poet Fulvio Testi'' by Ludovico Lana *''Moses Defends Jethro's Daughters; The Marriage of Moses and Zipporah'' by Charles Le Brun *''Portrait of Francis of Valois-Angouleme'' by Corneille de Lyon *''Lucretia, Brutus and Collatinus'' by Gianfrancesco Maineri *Portraits and ''Henry IV at Canossa'' by Adeodato Malatesta *Portable polyptychs by Tommaso and Barnaba da Modena *''Martyrdom of St. Catherine'' by Lelio Orsi *''Madonna and Child'' by Domenico Panetti *Landscapes attributed to Antonio Francesco Perruzzini *''Christ Crucified'' by Guido Reni *''Ecstasy of St. Francis; The Fortune Teller'' by Lionello Spada *Scenes from Ovid's ''Metamorphoses'' by Tintoretto *''St. Anthony of Padua'' by Cosimo Tura *''Adoration of the Magi'' by Palma Vecchio *''Portrait of Francesco I d'Este, Duke of Modena'' by Diego Velázquez *''San Geminiano Organ Shutter panels'' by Paolo Veronese *''The Dance of Hours'' by Giuseppe Zattera *Roundels from Virginia de' Medici's Apartment in the Palazzo dei Diamanti by the Carracci brothers *A collection of fresco cycles from the Rocca di Scandiano by Niccolò dell'Abate and from the Rocca di Novellara by Lelio Orsi.
== Key works == <gallery> File:Guido Reni - Crocifissione. Galleria Estense Modena.JPG|alt=Wili|Guido Reni'', Christ Crucified'', 1636. File:Galleria Estense -Busto del Bernini.JPG|Gian Lorenzo Bernini, ''Bust of Francesco I d'Este'', 1650–1. File:Friuli o tirolo, sella da parata con le armi di ercole I d'este, post 1474 (galleria estense) 01.jpg|''Parade saddle'', 1470–80. File:Manifattura corinzia o magno-greca, kouros, 490 ac ca.jpg|''Kouros'', early 5th century B.C. File:Boy with Thorn, marble, 150 AD, Antikensammlung Berlin, Sk 485, 141765.jpg|''Boy with thorn'', late 1st century B.C. File:Guido mazzoni, testa di vecchio, 1480-85 ca. 01.jpg|Guido Mazzoni, ''Head of an old man'', 1480–5. File:Ludovico carracci, assunzione della vergine, 1607 ca.jpg|Ludovico Carracci, ''The Assumption of the Virgin'', 1607. File:Arte romana, rilievo con aion-phanes entro lo zodiaco, 150 dc ca., probabilmente da un mitreo.jpg|''Relief with Aion-Phanes'', 125–50 AD. File:Bartolomeo bonascia, pietà, 1475-95 ca. 02.jpg|Bartolomeo Bonascia, ''Pietà,'' 1475–95. File:Cosmè Tura 009.jpg|Cosmè Tura, ''Saint Anthony of Padua'', 1484–88. File:Francesco Bianchi Ferrari - Pala delle Tre Croci.jpg|Francesco Bianchi Ferrari, ''Crucifixion,'' 1485–90. File:Correggio, madonna campori.jpg|Correggio, ''Madonna Campori,'' 1517–8. File:Paolo Veronese - St Mennas - WGA24810.jpg|Paolo Veronese, ''Saint Menna,'' 1558–61. File:El greco, altarolo portatile, 1567-68, 01.jpg|El Greco, ''Portable Altarpiece,'' 1567–8. File:Annibale Carracci - Venere e Cupido Modena.jpg|Annibale Carracci, ''Venus and Cupid,'' 1592. File:Jacopo Tintoretto - Deucalion and Pyrrha Praying before the Statue of the Goddess Themis - WGA22663.jpg|Jacopo Tintoretto, ''Scenes from Ovid's Metamorphoses,'' 1541–5. File:Guercino Marte Venere Cupido.jpg|Guercino, ''Venus, Mars and Cupid,'' 1633. File:Francesco I d'Este, Duke of Modena in 1638 by Diego Velázquez.jpg|Diego Velázquez, ''Portrait of Francesco I d'Este'', 1638. File:Antonio begarelli, madonna col bambino, 1540 ca.jpg|Antonio Begarelli, ''The Virgin and Child,'' c.1535. File:Ignaz elhafen, piatto da parata con raffigurazioni marine, 1670-80 ca, avorio, madreperla, corno e legno (modena, gallerie estensi) 01.jpg|Ignaz Elhafen (?), ''Platter with sea scenes,'' 1670–80. File:Grinling gibbons, vanitas (allegoria della morte di re carlo II stuart d'inghilterra), 1685 ca. 04 teschio.jpg|Grinling Gibbons, ''Vanitas,'' c.1685. File:Manifattura trapanese, presepe in corallo, argento, legno e metallo dorato, xviii secolo, 05.jpg|Trapani workshop, ''Nativity Scene,'' 18th century. File:Cerchia di giovan battista giacomelli, arpa doppia, 1581, decorata nel 1587-88, con fregio del 1588-93, 01.jpg|Giovanni Battista Giacometti, Giulio Marescotti, el Bastarolo, ''Estense Harp'', 1581–93. File:Domenico galli e liutaio ignoto, violoncello, 1691, 01.jpg|Domenico Galli, ''Cello'', 1691. File:CdM, pisanello, medaglia di leonello d'este 1441-1443 verso.jpg|Pisanello, ''Medal of Leonello d'Este,'' c.1440. File:Giovanni di paolo, adorazione del bambino, 1430-40 ca.jpg|Giovanni di Paolo, ''Adoration of the Christ child'', c.1430–40. File:Dosso dossi, formelle del soffitto della camera da letto di alfonso I d'este, 1520-22, ebbrezza.jpg|Dosso Dossi, ''The Ceiling of Alfonso I's Bedroom'', 1520–22. File:Wiligelmo, madonna dei cattania, 1100-1120 ca., dalla sagra di carpi 01.jpg|''Madonna and Child,'' Wiligelmo, c.1100–20. File:Apollonio di giovanni, novella di griselda, 1440 ca. 01.jpg|''The Tale of Griselda'', Apollonio of Giovanni, c.1440. File:Passerotti Vecchia che ride Galleria Estense Modena.JPG|''Head of an Old Woman'' Passerotti Bartolomeo, c.1575–80. </gallery>
== References == {{Reflist}}
== Bibliography == * Luigi Amorth, ''Modena capitale: storia di Modena e dei suoi duchi dal 1598 al 1860'', Martello Editore, Milano, 1973 * Jadranka Bentini, ''Disegni della Galleria Estense di Modena,'' Panini, Modena, 1989. * Herman van Bergeijk, "The first half of the seventeenth century: from the castle to the palace" in ''The Ducal Palace of Modena, seven centuries of a city space'', edited by A. Biondi, Modena 1987. * Maria Grazia Bernardini, ''La Galleria Estense di Modena: guida storico-artistica'', Cinisello Balsamo, Silvana Editoriale, 2006, {{ISBN|88-366-0680-6}}. * Giorgio Bonsanti, ''Galleria Estense'', Banca popolare di Modena, Modena, 1977 * Stefano Casciu (ed.), (trans. David Kerr),''The Galleria Estense in Modena: a brief guide'', Franco Cosimo Panini, Modena, 2015, {{ISBN|978-88-570-0901-8}}. * Stefano Casciu; Sonia Cavicchioli; Elena Fumagalli, ''Modena barocca: Opere e artisti alla corte di Francesco I d'Este (1629–1658)'' Edifir Edizioni Firenze, Firenze, 2013. * Luciano Chiappini, ''Gli Estensi'', Collana ''Le grandi famiglie d'Europa'', Edizioni Dall'Olio, Milano, 1967 * Alessandra Mottola Molfino; Mauro Natale; et al., ''Le Muse e il Principe. Arte di corte del Rinascimento Padano'', catalogo della Mostra tenuta a Milano nel 1991, Franco Cosimo Panini Editore, Modena, 1991 * Angelo Namias, ''Storia di Modena e dei Paesi Circostanti,'' Arnaldo Forni Editore, Bologna, 1893. * Giuseppe Panini, ''La famiglia Estense da Ferrara a Modena'', Edizioni Armo, Modena, 1996 * Angelo Spaggiari e Giuseppe Trenti, ''The state of Modena: a capital, a dynasty, a civilization in the history of Europe,'' Vol. II, Istituto Poligrafico and Zecca dello Stato- Archivi Stato, Modena, 2001. * Adolto Venturi, ''La Galleria Estense di Modena,'' Edizioni Panini, Modena, 1989.
== Related entries == * Gallerie Estensi * Biblioteca Estense * Estense Lapidary Museum * Pinacoteca Nazionale in Ferrara * Ducal Palace of Sassuolo
==External links== {{commons category-inline|Galleria estense (Modena)|'''Galleria Estense'''}} *[http://www.gallerie-estensi.beniculturali.it/galleria-estense/ Official website] *[https://www.gallerie-estensi.beniculturali.it/en/discover/ Short film exploring the entirety of d'Este line through shots of the gallery and highlights of its collection] ''on Discover page of Official website'' *[https://www.britannica.com/topic/House-of-Este House of Este page] on ''Britannica''. *[http://ww3.comune.fe.it/eca/ita/progetto.html Online catalogue of the Estense's artistic heritage in museums spread across the world] on ''Este court archives.''
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Category:Galleria Estense Category:Art museums and galleries in Emilia-Romagna Category:Museums in Modena Category:Art museums and galleries established in 1884 Category:1884 establishments in Italy Category:National museums of Italy Category:Este collection