#Francesco Borgia

[ladyoftheoldcentury]

"I haven't slept since I last saw you"

[ivory-forged-steel]

Historical Fiction character tag drop 🎉

[xradiant]

"You're a long way from home." - @xhideyourfires

[borgialucrezia]

THE BORGIAS ↴ Illustration: Juan Borgia's corpse is brought in as Rodrigo, Lucrezia and Cesare Borgia watch. Artist: Lodovico Pogliaghi  (1857–1950)

Description: Alexander VI and his children, Lucrezia and Cesare Borgia, looking at the corpse of the Duke of Gandía brought to the Vatican. Woodcut from Francesco Bertolini: Il Rinascimento e le Signorie italiane (Storia generale d'Italia, Vol. 2.), published by Treves, Milano, 1897.

[ducavalentinos]

Ladislao Reti, an eminent Leonardo scholar, acknowledged that historians of the past have struggled with how to reconcile their exalted reputation of Leonardo and the fact he worked for Cesare Borgia. This is true for both past and contemporary writers. Paolo Giovio (1483-1552), bishop of Nocera, wrote Life of Leonardo da Vinci and intentionally excluded Cesare entirely from the work, to rid Leonardo of an association that Giovio saw as a tamish on the artist's reputation. Vasari also redacts any mention of Cesare Borgia from his Vita di Leonardo. The writings on Leonardo's life by Gian Paolo Lomazzo, a friend of Francesco Melzi who was Leonardo's student and the individual to whom he bequeathed his notebooks, also offer no reference to the artist's time with Borgia. Even Martin Kemp and Kenneth Clark, both well respected leading minds in the circle of Leonardo studies, minimize the association, customarily dedicating only a surface analysis to the intensive, complicated, and formative period in Leonardo's life.The perpetual disassociation is a disservice to both the artist and his patron-the historical importance of each individual only heightens the value in understanding their relationship and its outcomes. Leonardo and Cesare probably met for the first time when Borgia entered Milan with the French army in 1499. Leonardo arrived in Milan around 1482 and quickly began his association with the court of Ludovico Sforza and in 1489-90 he began earning an official salary. Leonardo's employment in the court of Milan was very different from the time he spent with Cesare. It would be narrow to assume that Leonardo never executed for Cesare the duties traditionally held by court artists like the entertainments staged in Milan. It will in fact be argued that he did, but Cesare's treatment and utilization of Leonardo was different from Ludovico's. The Borgia ruler valued Leonardo for divergent reasons and gave him extraordinary latitude in his work. Cesare treated him as an equal, not as a possession but an asset to honor, as someone from whom he had great respect, and as a familiar. With Cesare Leonardo was given freedom, and although he was given projects, they were self-propelled and stimulating to his curiosity which had struggled to thrive in Milan. He was given the title of military or ducal engineer, one of the most sought after court positions for which an artist could earn a salary. We know from his letter of introduction to Ludovico Sforza in 1489-90 that Leonardo wanted this position. [...]With Borgia he finally held the position that he desired.

At the Court of the Prince: The Patronage and Art Historical Legacy of Cesare Borgia, 1492-1503. Elizabeth H. Bemis

[all-that-is-gold-is-now-gone]

Characters who scream

"Someone who loves you wouldn't do this"

Troy Otto

Laurel Hall

Aegon Targaryen

Francesco Pazzi

Clarice Orsini

Rhaenyra Targaryen (younger)

Alicent Hightower (younger)

Lucrezia Borgia

Piero the Unfortunate

[elucubrare]

apropos of nothing but my brain being a machine that sometimes dredges specific momemts from the soup of memory there's a thing that happens sometimes in bel canto where a character asks questions of the chorus & i think it's really effective --

Francesco Foscari, in "Questa dunque è l'iniqua mercede" asks the council of Venice, who has condemned his son to death and wants him to cede the doge's throne, what is left for him, and the chorus, speaking with a single funereal voice, says "Obedience": it's not quite the same as the function of the Greek chorus, but it has that same impersonal finality - because they answer in unison, it's no longer a single member of the council speaking, it's Judgement itself;

or when all of Lucrezia Borgia's victims, one by one, and then as a group, condemn and unmask her, in "Maffio Orsini, signora, son io" -- she could hope for pity and understanding from a single one of them, perhaps, but not from the crowd.

[porciaenjoyer]

dumas was suchh a historical fiction writer which i think is why his nonfiction (?) is like that.. in short, he had rpf instincts. we could have had borgia rpf by alexandre dumas but instead we have francesco the guy he made up..

[litcest]

The House of Borgia: End of a Dynasty (Part 4)

| Part 1 | Part 2 | Part 3 | References |

While the Conclave elected Pope Pius III, Cesare was occupied trying to find allies. His old friend, King Louis XII, came to his aid, issuing a statement to Romagna that their Duke was "alive and well and the friend of the King of France". Not only Cesare had the French's support, but he also counted on Ferrara's troops to protect his claim on Romagna, as Lucrezia had persuaded her husband and father-in-law to fight in her brother's defence.

Once Romagna was relatively stable and Cesare felt better, he returned to Rome, where he met with Pius III and had his position as Captain confirmed. Not only that, but due to Cesare's clever theft of the Papal Treasury, Pius III was left financially dependent on him. By all accounts, Cesare's life would continue on exactly as it had under Rodrigo's papacy.

Unfortunately for Cesare, Pius III died twenty six days after being elected Pope. The next Pope, Julius II, had been an old enemy of Rodrigo, and upon his election, was swift to force the Borgias to surrender their lands in Romagna, even ordering the new Captain of the Papal Forces to arrest Cesare when he refused to comply.

After Cesare's arrest, Julius decided to put him on trial and encouraged those wronged by him to file claims for financial compensation. Not only that, but Julius also charged Cesare with the murder of two cardinals, whose deaths were believed to have been arranged by Rodrigo. These trials never occurred, as in April 1503, Cesare was released in exchange for his remaining territories in Romagna. Once free, he departed for Naples, which was under Spanish rule and where the rest of the Borgias had taken refuge, with the exception og Lucrezia, who remained with her husband in Ferrara. Hardly had Cesare set foot in Naples when he was imprisoned again, as King Ferdinand of Spain wished to hand Cesare back to Julius II in exchange for an alliance against the French.

Cesare would remain imprisoned in Spain until 1506, when he managed to escape prison and seek refuge with his brother-in-law, Juan d'Albret, King of Navarre. Taking advantage of a civil war wrecking through Navarre, Cesare offered his services as a military leader to help King Juan reclaim the kingdom. This would prove to be Cesare's downfall, as on 12 March 1507, he was killed in battle by the revolting troops. 

Six weeks would pass until the news of his death reached Lucrazia, who was, by this point, the Duchess of Ferrara. It's said that upon learning of her brother's fate, she locked herself in her room and began to wail his name. In 1508, Lucrezia would finally give birth to a son by d'Este, named Ercole II, who would be followed by Ippolito in 1509, Leonora in 1515, Francesco in 1516 and Isabella Maria in 1519. This last birth proved itself to be terribly complicated and claimed the lives of both mother and daughter.

Rodrigo, due to being a pope, was given a tomb in the Basilica di San Pietro, near his uncle's resting place. In 1586, Rodrigo's bones were dug up and placed on a casket alongside Alfonso's, which, in 1610, was taken to Santa Maria in Monserrato degli Spagnoli, where the casket was set aside and forgotten about until 1864, when it was unexpectedly found. It would take until 1889 for the joined remains to be once again given a proper tomb, with a stone memorial being carved in honour of Alfonso and Rodrigo.

Cesare was buried in a tomb by Juan d'Albret in the church of Santa Maria of Viana, in front of the high altar. His tomb, however, was destroyed by the bishop of Calahorra some time later, with Cesare's body being dumped in a hole outside the church. In 1945, the remains were exhumed and an autopsy was performed. The remains then bounced from place to place until finally being reburied in the church in 2007. 

Lucrezia, meanwhile, was buried in Monastero del Corpus Domini, in Ferrara, alongside the other Dukes and Duchess of Ferrara. In time, Alfonso d'Este joined her, as did her children and grandchildren

Thus, the era of Borgia dominance came to a close. Although the family continued to hold titles in the subsequent years (most notably, Rodrigo's great-grandson, Francis Borgia, was canonized as a saint) they never reclaimed the formidable power they once commanded during Rodrigo's papacy. Yet, Rodrigo, Cesare, and Lucrezia did not fade into obscurity. Their legacy endured, capturing the public imagination for centuries to come. Indeed, as the chronicles of their lives spread through the courts of Europe, their reputation grew, blending reality and legend. Their lives continue to fascinate audiences, inspiring countless reinterpretations in literature, drama, and visual media even to this day.

[jorgedaburgos]

Ho 64 anni, naturalmente non mi chiamo Jorge da Burgo e sono quello della foto. Qualche altra volta vi racconto qualche altra cosa di me; forse.

Non ho grandi patologie se non quelle legate alla mia età: pressione alta (il mio medico dice che l'ipertensione è un killer silenzioso...); qualche dolorino strano a livello del petto, l'aorta del collo che si chiude qualche micron all'anno, la prostata che ogni tanto fa i capricci (ma le analisi dicono che è tutto ok!), sulla pelle -specie del viso- cominciano a farsi vedere le macchie dell'età e cominciano le rughe. Insomma sto bene per avere l'età che ho.

Detto tutto ciò volevo parlarvi della morte. Della mia, ma non solo. Per ora non ho paura di morire, un po' perché ancora non ci sono sintomi che stia arrivando (ma questo non vuol dire niente: una sera ti corichi e poi... pouff, è finita); un po' perché, sinceramente, vedo la morte semplicemente come un momento della vita, né più né meno come la nascita: all'inizio della vita in questo corpo l'anima ne prende possesso, alla fine lo saluta e se ne va. E a me interessa l'anima non il corpo, anche se qualche soddisfazione fratello corpo me l'ha data e spero continui così.

Allora stasera mentre facevo la doccia mi sono fatto una domanda: senti, Jorge, per te cos'è la morte? e mi sono risposto: è il momento in cui sarò libero di girare per il mondo e andare ad incontrare tutte le anime che ho conosciuto in questa vita (e che hanno già lasciato il loro corpo e ne hanno magari preso in prestito un altro) e anche in quelle precedenti e di cui ora non ricordo nessuno, ma che riconoscerò appena le incontrerò.

Immaginate se dovessi scoprire di essere stato amico di Cesare, di Lucrezia Borgia, di Francesco Bacone, Schubert, Charlie Parker, Tommaso d'Aquino... Adso da Melk! Beh, quest'ultimo forse no, visto che è solo un personaggio letterario.

Ma forse che io non sono un personaggio letterario? O forse no?

Confondo sempre la realtà con la letteratura...

E voi cosa mi dite? Cosa è per voi la morte?

P.S.: una piccola curiosità ve la anticipo: non taglio la barba completamente a zero da quando avevo 17 anni, quindi praticamente da 47 anni...

[moesartblog]

Need 2 know the fedvi intricate rituals going on in your au. Sorry I'm just excited someone else's remembers fedvi in 2023

I find that fans of very niche pairings tend to persist for a long time lol

My version of it is kinda a departure from the original canon version of the characters.

Firstly I should say I changed the ages up by a couple years so vieri is like 19 and Federico is 21 during the time of that fight on the ponte veccio and they aren’t super familiar with each other beyond the rivalries between vieri and ezio. It’s only after Giovanni’s death that things start to adjust. I sorta made vieri have a big problem with making the execution so public bc it put a big target on the pazzis back and it’s the first major time vieris like “my dad fucked up what is he doing??” And that escalates from there. Vieri goes through with the orders he’s given from Borgia but he’s kinda half hearted into it and he’s starting to question the pazzis place in the templars. I want to incorporate a moment where vieri gives some information to the assassins about Templar plans in hopes of saving his family/dad. And the assassins are conflicted about it but it’s sort of a tiny olive branch unintentionally. Eventually vieri realizes his dad is gonna destroy the family so they have a fight which ends up with vieri stabbed in the abdomen pretty gravely, and him killing his dad. That’s during the same time ezio and Federico were breaking in to assassinate Francesco. Viola finds vieri slumped against a wall and tried to stop the bleeding. Vieris kinda just ready to slip away. Viola flags down fed and ezio and asks them to save her brother. Ezios like uh if he does, two birds one stone. But Federico decides to help vieri and viola and take them both back to the villa auditore.

Vieri nursed back to at least consciousness and the family’s been cycling through watching over him. Ezios the one who’s there when he wakes up and vie makes a snide remark and Ezio starts threatening him and fed has to pull him out to chastise him. At this point it’s partly they could get more info about Templar plans from him and part he promised to help the two siblings, and he can’t let ezio cause issues because of their rivalry. They’re having this fight right outside the door and vieri is listening and is like “clearly I’m not wanted here, and being among these people is going to get me into some torture situation or something” so he sneaks out (clumsily cus of his injuries) . Fed and ezio see he’s gone and ezios like “if I find him first I get to kill him” and fed is now racing against him to make sure that doesn’t happen.

He finds him just outside the city gates trying to get on a horse and he stops him. They have a little talk where fed reminds him of his condition and vie is like u should have just let me die. Fed convinces him to come back and rest.

From there on the dynamic is vieri being kinda thrust into what he perceived as dangerous waters and trying to learn to open up to people. He’s hesitant to get help from anyone no matter what. Federico is sorta the force pushing him to be more vulnerable. Fed also kinda learns to rekindle that more cheeky side through some teasing of vieri and teaching him how to be an assassin. They also talk to each other about their fathers and just how different their lives were. Vieri also starts to develop through fed a way to have healthy competition. Yknow races and sparring, etc.

That was a lot but yeah it’s still something I’m exploring in my art. I’ve drawn some of the stuff I mentioned up top lol

[fantasybewritten]

Fandoms and Characters I write for:

The Vampire Diaries/The Originals

Mira Salvatore (OC)

Klaus Mikaelson

Elijah Mikaelson

Kol Mikaelson

Davina Claire

Stefan Salvatore

Damon Salvatore

Caroline Forbes

Enzo St. James

Bonnie Bennett

The Borgias

Cesare Borgia

Juan Borgia

Lucrezia Borgia

Maddalena de Medici (OC)

The Medici

Clarice Orsini

Lorenzo the Magnificent

Giuliano de Medici

Cosimo de Medici

Contessina de Bardi

Francesco Pazzi

Cursed

Nimue

The Weeping Monk

Arthur

Petra (OC)

Gawain

Fear The Walking Dead

Laurel Hall (OC)

Serena Otto

House of the Dragon

Rhaenyra Targaryen

Dameon Targaryen

Helaena Targaryen

Alicent Hightower

Laena Velaryon

Jacaerys Velaryon

The Last Kingdom

Sihtric

Finan

Osferth

Petra (OC)

Uhtred

Brida

Ragnar

Skade

Aethelflaed

Gisela

Vikings

Idrin (OC)

Ubbe Ragnarsson

Hvitserk Ragnarsson

Ivar Ragnarsson

Princess Snaefrid

Thorunn

Bjorn Ironside

Lagertha

Margarthe

[xradiant]

@xhideyourfires​

“This is what you got from him?”

[minetteskvareninova]

Minette watches Medici, part 15 (Betrayal)

- This is probably going to be a short one, because I don’t have much to complain about this episode? Like, the whole thing is questionable from the historical perspective and has a lot of problems carried over from the previous episodes, but overall the buildup to the Pazzi plot kinda slaps? Who knows, maybe I’ll fill this one with compliments instead.

- First off, one thing I forgot to mention in the previous entry: the decision to tie Galeazzo’s murder to the Pazzi conspiracy. And I mean, those two things were related, in that they were both attempts to remove an autocratic ruler and reinstate the old semi-oligarchical order, but they weren’t literally perpetuated by the same people. With that said, as far as deviations from history go, this is one of the better ones, because it fits very well into the main plot. Like, if they are going to disregard the history completely, they might as well give us something this good.

- Look, I hate to say this, because she was a great gal and shit, but... They should’ve killed Simonetta sooner. I don’t hate some of the things they were trying to do with Giuliano here, like him being distracted by women, wine and general fucking around, untill he falls in love with a girl who inspires him to take his responsibilities more seriously even after she dies. But like... The whole thing was too little too late. Instead we spend most of Simonetta and Giuliano’s time together with their dumb courtship and even dumber drama with her husband and Sandro.

- Also, the whole “Sandro loves her as an object of artistic adoration, while Giuliano loves her as an actual person” would be a great angle to take if it wasn’t for the fact that a) again, too little too late; b) if Giuliano really loved or at least respected her as an actual person, he would’ve left her alone at the first “get lost” and none of this drama would happen. These two had no fucking chemistry, but honestly that’s to be expected, I’ve yet to see a tsundere girl x presumptuous fuckboy pairing that isn’t pure trash. This is the kind of couple that gives enemies to lovers trope a bad name.

- Another thing that was too little too late? The whole thing with Giuliano finding his place as the hard first of the bank, while Lorenzo is the brain and friendly face. I don’t love either of them as characters, but they have a solid dynamic this show refuses to play on for some reason.

- Also let me clown a little on the whitewashing of Sixtus IV., like, I get that The Borgias did the whole “morally ambiguous pope” thing sooner and better, but come the fuck on. Also was his cardinal nephew supposed to be part of the conspiracy, because IRL he very much was...

- Whitewashing of the Medici family is bearing some really nasty fruits here in the form of tragic flattening of the Pazzi conspiracy. Like, where are my liberatores vibes? The Caesar references?! Halooo??? THIS SHIT COULD’VE BEEN SO POIGNANT ASFJG...

- The flashback was... Eh? Contessina’s death had me rolling my eyes, which - you know you’ve fucked up when a best girl is literally dying and my reacting is a fucking eyeroll. At the same time, we finally got some glimpses of an alternate timeline where Francesco de’ Pazzi had a decent characterization. His pride, his penchant for violence, his contentious relationship with his uncle... This dude could’ve been so interesting with some better writing! As it is, my interest in him as a character lives off of scraps and his mighty cheekbones. Ugh.

- But, I cannot emphasize this enough, despite all of my minor complaints, this was a fucking great episode! The plot was well-thought out, fast paced, the chase at the beginning kicked ass, the twists and turns of the plot were exciting, yet made perfect sense, and Carlo, oh my poor sweet Carlo, my heart goes out to you... Also my girls Clarice and Mamma Lucrezia, god how I love them. Like, so much for my conviction that I’ll end this show without any new blorbos. It’s just that I am better at complaining than praising, sorry about that.

[aki1975]

Reggio Emilia - Sala del Tricolore - 1796

1452: Borso d’Este von Ferrara ernennt zum Herzog von Modena und Reggio. Maler wie Cosmè Tura, Francesco del Cossa und Ercole de’ Roberti waren am Este-Hof aktiv.

1470: Die Fresken im Palazzo Schifanoia mit astrologischen Themen sind ein typisches Werk der ferraresischen Schule. Ercole de Roberti war ein typischer Maler der Renaissance mit ordentlichen Zeichnungen und klaren Farben, während Cosmè Tura als Vertreter des dramatischen Stils mit bizarren Figuren gilt. Die Darstellung des Monats September von Cosmè Tura kombiniert mythologische und astrologische Motive (Vulkan) mit Turas charakteristischem dramatischen Stil, reichhaltige Ornamente, metallische Farben

1471: Ercole I. d’Este. Addizione Erculea in Ferrara mit Palazzo Diamanti (Biagio Rossetti), ein Meisterwerk der Renaissance-Architektur, dessen Fassade mit einer Diamantmuster-Steinverkleidung versehen ist. Förderung von Künstlern wie Piero della Francesca und Ludovico Ariosto. Isabella d’Este war die Ehefrau von Francesco II. Gonzaga, Herzog von Mantua, und Mutter von Federico. Sie war eine der bedeutendsten Adligen der Renaissance.

1474: Ludovico Ariosto wurde in Reggio geboren. Sein Stil gilt als typisch für die Renaissance, geprägt von Fantasie und der Fähigkeit, erzählerisch komplexe Themen zu behandeln. Er greift höfische, ritterliche Motive des Mittelalters auf und verbindet sie mit humanistischen Idealen. Er vermischte traditionelle Ritterthemen mit Elementen von Ironie, Humor und Fantasie, was einen Bruch mit der ernsten und idealistischen Darstellung früherer Epen darstellt. Während Autoren wie Dante moralische und religiöse Botschaften in den Vordergrund stellten, konzentrierte sich Ariosto auf Unterhaltung und die Kunst des Geschichtenerzählens.

1478: Pazzi-Verschwörung

1481: Santa Maria in Porto von Ercole de’ Roberti

1490: Isabella d’Este (Tochter von Ercole I.) heiratete Francesco II. Gonzaga, den Herzog von Mantua.

1494: Durch die Unterstützung in 1494 von Karl VIII. von Frankreich konnte Ercole I d’Este seine Unabhängigkeit sichern und seine Stellung in Norditalien stärken.

1502: Alfonso d’Este verheiratet mit Lucrezia Borgia, was die politische Macht der Este stärkt.

1505: Alfonso I. d’Este Herzog. Verteidigt Ferrara erfolgreich gegen den Papst und Frankreich während der Italienischen Kriege. In späteren Phasen der Italienischen Kriege (1520er Jahre) unterstützte Alfonso Karl V., Kaiser des Heiligen Römischen Reiches, gegen Frankreich. Diese Allianz sicherte Ferrara langfristig ab. Er war Freund mit Giovanni Maria Boiardo und Ludovico Ariosto der widmete dem Orlando Furioso ihren Bruder, der Kardinal Ippolito I d’Este.

1512: Schlacht von Ravenna zwischen Alfonso I. d’Este und Papst Julius II.

1519: Nach dem Tod Herzogs von Mantua, Isabella d’Este übernahm die Regentschaft für ihren minderjährigen Sohn Federico II. Gonzaga und sicherte die Stabilität des Herzogtums. Sie sammelte antike Skulpturen, Schmuck, Manuskripte und ließ zahlreiche Kunstwerke für ihre berühmte Studiolo (ein privates Kunstkabinett) anfertigen.

1526: Giovanni delle Bande Nere starb während des Krieges zwischen Kaiser Karl V. und den Papstum. Er wurde durch eine Kanonenkugel verwundet, eine Waffe der neuen Artillerie, und erlag später seinen Verletzungen. Die kaiserliche Armee, die später 1527 den Sacco di Roma ausführen sollte, wurde von Alfonso I. d’Este und Federico II. Gonzaga unterstützt.

1534: Ercole II d’Este

1559: Alfonso II. d’Este. Alfonso II. d’Este heiratete die Tochter von Cosimo I. de’ Medici, um die Allianz zwischen den beiden Familien zu stärken. Doch sie hatten keinen Sohn, und schließlich fiel Ferrara an den Kirchenstaat.

1572: Der Kardinal Ippolito II d’Este ließ die Villa d’Este bei Tivoli erbauen und weihte sie ein

1598: Cesare d’Este. Ferrara fällt an den Kirchenstaat. Die Este verlegen ihren Herrschaftssitz nach Modena und Reggio

1614 - 1648: Die Carracci spielten eine indirekte Rolle in der Dekoration der Basilica della Ghiara, einem wichtigen religiösen und künstlerischen Zentrum in Reggio Emilia. Die Carracci perfektionierten die Technik der Quadratur, bei der illusionistische Architekturelemente in die Fresken integriert wurden, um die Illusion von räumlicher Tiefe zu erzeugen. Michelangelo und Raffael gelten als Höhepunkte der Renaissance. Ihre Stile wurden von späteren Malern wie Caravaggio und den Carracci weiterentwickelt. Der Erste (Caravaggio) übernahm den dynamischen Ansatz Michelangelos, während die Zweiten (die Carracci) den Naturalismus Raffaels aufgriffen. Giulio Romano ein Hauptschüler Raffaels, aber er war für seine monumentalen Fresken und dekorativen Innovationen bekannt.

1621: Francesco I. d’Este. Gleich zu Beginn seiner Herrschaft sah er sich mit der schweren Pestepidemie von 1630–1631 konfrontiert, die einen Großteil der Bevölkerung Modenas dahinraffte. Francesco führte mehrere militärische Kampagnen durch, darunter die Invasion des Herzogtums Parma während des Dreißigjährigen Krieges. Er förderte die kulturelle Entwicklung seines Herzogtums, indem er bedeutende Bauprojekte wie den Herzogspalast in Modena initiierte (1634) und Kunstwerke von Künstlern wie Gian Lorenzo Bernini und Diego Velázquez in Auftrag gab.

1631: Ehe von Francesco I. d’Este, Herzog von Modena und Reggio, mit Maria Farnese, Tochter von Ranuccio I. Farnese, Herzog von Parma und Piacenza. Die Farnese begannen ihre Geschichte als Soldaten und Verwalter im Dienst des Papsttums, bis Alessandro Farnese im Jahr 1534 zum Papst gewählt wurde und den Namen Paul III. annahm. Während seines Pontifikats machte er seinen Neffen Pier Luigi Farnese im Jahr 1545 zum Herzog von Parma und Piacenza. Später wurde Herzog Alessandro Farnese, ein Nachkomme der Familie, Heerführer in Flandern im Dienst von Philipp II. von Spanien.

1635: Während des Dreißigjährigen Krieges (1618–1648) war Norditalien ein Schauplatz regionaler und internationaler Konflikte. Francesco I. führte Truppen gegen das Herzogtum Savoyen-Piemont, das sich auf die Seite Frankreichs gestellt hatte.

1695: Rinaldo d’Este

1741: Francesco III. d’Este. Bau des Herzogspalastes in Modena. Im Jahr 1765 ernannte Maria Theresia von Österreich Francesco III. d’Este zum Herrn von Varese, wo er die Gärten anlegen ließ.

1796: Im Jahr 1796, kurz bevor Napoleon in Mailand einmarschierte, floh Herzog Ercole III. von Modena nach Venedig. In dieser Zeit wurde die Reggiana Republik gegründet, deren wichtigstes Ereignis die Schlacht von Montechiarugolo war, bei der die Bürger von Reggio die Österreicher besiegten.” Das Herzogtum wird später Teil der Cispadanischen Republik.

1814: Francesco IV. von Habsburg-Este. Nach dem Wiener Kongress erhalten die Este-Modena ihre Herrschaft zurück.

1831: Francesco IV. hatte zunächst versprochen, die Anliegen der Carbonari zu unterstützen, stellte sich jedoch letztlich als ein reaktionärer Herrscher heraus. Ciro Menotti, ein führender Kopf der revolutionären Bewegung, wurde inhaftiert und 1831 hingerichtet.

1859: Francesco V. von Habsburg-Este. Modena wird in das Königreich Sardinien eingegliedert und später Teil des vereinten Königreichs Italien.