Brignano Gera d’Adda

Palazzo Vecchio was built between the second half of the 16th century and the beginning of the 17th century, as evidenced by the sober Renaissance features perceptible from the exterior façades. The monumental architecture is based on an L-shaped building with an inner courtyard porticoed along three sides. Once through the entrance gate, the Visconti majesty can be perceived in the painted perspective backgrounds, in the finish of the diamond-pointed pietra serena pillars and in the loggia that graces an entire side of the piano nobile.
The ceremonial staircase has three massive and expansive ramps that are completely frescoed, presumably in the 1830s–1940s, as is the ceiling.
This leads directly into what is known as the Sala del Trono (Throne Room), the most striking space in the entire Palazzo, repeatedly described as a well-presented page of Lombard history, which bears the painted date of its decoration of 1675. The scenic fresco decoration occupies the entire available surface area with powerful monochrome sculptures embodying eight of the twelve Seigniory of Milan from 1277 to 1447, emerging from the walls in full-length. They are all easily recognisable, both because their names and the office they held in life are inscribed on the supporting pedestal and because their physiognomy intensely recalls that drawn by Paolo Giovio in his famous portraits.

One of the most significant rooms is certainly the “Galleria”, where the Visconti family’s most precious paintings, sculptures, mirrors and objects were kept, as appears in the numerous inventories drawn up between the 17th and 19th centuries. Comparing the paintings listed in the inventory of 1688 with those of 1779, it can be seen that almost all the works were kept in their original location, in what was and will always be referred to as the Old Gallery, despite the fact that more than a century had passed and the collection had been variously enriched.

Since 2015, there has also been a permanent exhibition inside the building dedicated to the 17th-century wooden masks, originally placed at the ends of the beams under the eaves, which were removed during the restoration works on Palazzo Vecchio in the 1990s.

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