Page 23 - The Lugdunum Auction 24

A masterpiece of Renaissance medallic art by
Petrecino da Firence (ca. 1450-1500)

This impressive gilt bronze medal was crafted in
1460 in Ferrara, by the Italian medallist Petrecino
Da Firenze (ca. 1450-1500), for an intriguing and
fascinating ruler, Borso d’Este, Duke of Modena and
Reggio, and Marquis of Ferrara.

Born on 24th of August 1413, Borso was the
third illegitimate son of Niccolo III d’Este, Marquis
of Ferrara and his mistress Stella de’ Tolomei.
His improbable access to the throne of Ferrara
was the result of a series of tragical events and
usurpations.
In 1425, Ugo d’Este, his oldest brother and
designated successor to the throne, was sentenced
to death by his own father for his relationship
with his stepmother, Parisina Malatesta.
In 1450, his older brother, Leonello d’Este,
known for his interest towards humanism and art, Borso d‘Este (1413-1471)
and beautifully depicted on one of the most famous
medals by Pisanello (see lot n°2 in this sale),
suddenly died of unknown causes.
Although Leonelle d’Este had designed his son to be his successor, and despite the presence of legitimate
children of Niccolo III, Borso d’Este managed to become the ruler of the city in 1450 and was confirmed
in his titles by the Holy Roman Emperor Frederick III, on 18th of May 1452.

On 12th April 1471, in St Peter’s Basilica in Rome,
he was appointed as Duke of Ferrara by Pope Paul II.
On 20th August 1471, he died, a couple of days after
his return to Ferrara from Rome, where he enjoyed
one month of partying.

Borso never married and left no heirs. His successor
was his half-brother Ercole I d‘Este.

Magnificence as a way of ruling

This intricate access to the ruling position in the
city of Ferrara, as well as Borso‘s illegitimate origins,
have been the reasons, in addition to a personal
ambition, that led him to use magnificence as a
way to rule and to gain legitimation and
respect from his peers and subjects.
This magnificence was first illustrated by the under-

taking of numerous large urbanistic and
Borso d‘Este depicted as a generous patron

architectural projects aimed for the well-being of

his subjects: a new campanile, river diversion, ex-

pansion of city walls, etc.
However, after the confirmation of his title by the Holy Roman Emperor in 1452, Borso‘s
magnificence was shifted to a more restricted and private audience, with the aim to impress his peers
and other rulers. A new ambition that this exceptional and opulent medal, aimed at being
exhibited and offered to friends, courtiers and dignitaries is an impressive testimony of.
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