The ancient history of Modena affords evidence that it enjoyed at an early period a considerable degree of prosperity; the splendor, wealth, and arts of its capital, of like name, being mentioned by Cicero, Pliny, and Strabo. In modern times Modena has shared, more or less, the various vicissitudes which befell Italy, and jiar- ticipated in the great internecine feuds of the country. In 960 a member of the great house of Este was pro- claimed marquis of Modena, and in 1452 the then reign- ing marquis was created duke by the emperor Frederick HI. In 1797 Modena formed part of the Cisalpine Re- public, but was restored in 1814 by the congress of Vi- enna to the reigning family. The duchy had at that time an area of 2310 square miles, and a population of 586,000. In 1848 the duke of Modena was temporarily deprived of his rights; and in 1859 the population de- finitively expelled their unpopular ruler, who carried off all the property and valuables within his reach, in- cluding the silver handles of the palace doors. In the beginning of JIareh, 1860, a plebiscitum declared in fa- vor of ainiexatiou to the kingdom of Sardinia, which is now included in Italy as a imited kingdom.
In ecclesiastical history, Modena figures quite promi- nently during the Reformatory movement of the 16th
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centun'. The learned Sicilian, Paola Eicci, labored there successfully in 1540, and the Komau bishop of the diocese, cardinal Morone, at one time gave the country up as Lutheran. The duchess herself, Kenata de Fer- rara, a sister of Francis I of France, greatly distin- guished herself as a promoter of the new doctrines. But the Inquisition came, and from its introduction dates the wane of Protestantism in Modeua. See IxQuisi- Tiox; Italy.
Modena, Barnaba da, an esteemed Italian painter of the school of Modena, who flourished in the 14th century, was among the first artists who obtained any reputation in Piedmont. Two pictures exist in the Conventuals of Pisa by this master, one in the church and the other in the convent; both portray the Virgin. In the second the coronation is represented, and the Virgin is seen surrounded by St. Francis and other saints of his order. Delia Yalle speaks in high terms of a third picture of the Virf/iii, remaining in the possession of ilie Conventuals of .-Uba, which he says is in a grander style than any contemporary works; and he states that it bears the date 1357. Morrona extols the beauty of his heads and the delicacy of his coloring, and ])refers him to Giotto. Hardly anything is known of his per- sonal history. See Lanzi, Hist, of Painting, transl. by Koscoe(Lond. 1847,3vols.8vo),ii,345; iii,292; Spooner, Bioy. Uist. of the Fine Arts (N. Y. 1865, 2 vols. 8vo). ii. 370;
Modena, Leon da. See Lkox.
Modena, Niccoletto da, an old Italian painter and engraver, flourished at Modena about the beginning of tlie IGth century. He is principally known as one of the first engravers of Italy. His plates are well de- signed, but are rudely executed. The principal produc- tions are, The Adoration of the Shepherds ; St. Sebas- tian, with M iccoletto on a tablet ; St. Jerome ; St. George ; a full-length figure of Christ; St. Sebastian, with his arms ticil over his head to a column, and his body pierced with six arrows. Another St. Sebastian, larger tlian the preceding, and pierced witli three arrows. JDa- i-iil with the head of Goliath ; St. A nthony ; The vestal Lucca carrging water in a sieve to prove her virginitg ; St. Catharine, and a Saint bearing a large bag on his back. Tlie date of his death is unknown. See Jame- son and Eastlake, /list, of our Lord (Lond. 18G4, 2 vols. 8vo), ii, 57-; Lanzi, Uist. of Painting, transl. by Roscoe (Lond. 1847, 3 vols. 8vo ), i, 107; ii, 346; Spooner, Jiiog. Uist. of the Fine A rts (N. Y. 1865, 2 vols. 8vo), ii, 571.
Modena, Pellegrino da, an Italian painter, the most eminent of tlie Modena school, was born about the middle of the 15th century. He is often called Pelle- (/rino .}[unari, and sometimes A retusi, but is commonly known by the title prefixed to this notice. According to Lanzi, he first studied with his father, who was also an artist of considerable repute, and in 1509 painted an altar-piece for the church of St. Giovanni at Jlodena, wliich gained liim no little reputation. At this time the fame of Kaphael readied Modena, and Pellegrino at once journeyed to Home, and placed himself under the instruction of that sublime master, who, perceiving the remarkable talent of his pupil, employed him as assist- ant in the famous works in the Vatican. At first Pelle- grino painted in the open galleries, but afterwards exe- cuted from the designs of Uaphael tlic Jlistorg of .Jacob \ and the History of Solomon in tlie Vatican, which Lanzi says were painted entirely after tlie manner of his mas- ter, and ill a style almost incomparable. After the death of liaphael he continued to paint at Pome from his own designs, and executed some admiral)le works for the dilferent churches, particularly a work in fresco in the churcli of St. Giacomo, entitled tlie History of St. Jams. After its completion he returned to Modena. Here he painted his most celebrated jiicture of the Xa- tirily of our Lord, in the churcli of St. Paolo, which is characterized by Lauzi as '• breathing in every part the