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The architectural structure and the simple layout of the internal spaces have been interpreted as emblematic characteristics of the style of the Bergamasco who, by order of Poleggi, was assisted by the architect Bernardino Cantone as head supervisor to the works. Cantone, among other things, is credited with the project and supervision of the works carried out in Strada Nuova, for whose plan we cannot exclude the possible contribution of the architect from Perugia Galeazzo Alessi.

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The President: Matteo Bruzzo

The Vice President: Giovanni Battista Crosa di Vergagni

Foundation Members: Elena Bruzzo Roasenda, Giacomo Bruzzo jr, Luigi Croce, Carlo Croce, Marcello Mari, Giorgio Mezzadri, Corrado Papone, Max Rabino.

Thank with heartfelt gratitude all the people and the institutions that have contributed in helping to start, to proceed with and conclude the restoration works on the residence.

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Beyond the large main door, it opens up an oval-shaped atrium, whose short sides house four small lacunar exhedrae. Between one exhedra and the other, there are pairs of Ionic herms, alternated with panels surmounted by a small obelisk.

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The façade of the palace becomes the backstage that introduces and invites the visitor. A totally identical plan for the interior and the exterior was hypothesised and the critics once again trace back to Bergamasco's genius the plan for the façade, enlivened by stucco and anthropomorphic relief alternated with spaces that accentuate the 'pictorial' vibration: festoons, garlands of fruit, grotesque masks, herms, monstrous harpies, shreds, ornaments and ancient style relief all cover the façade that looks on to Strada Nuova, animating the front and giving a touch of human life at the same time.

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The garden, right from its beginnings formed on different layered levels shelved on the hillside of Castelletto, underwent during the eighteenth century, together with the Palace, a major change at the courtyard level and of the first piece of terracing.

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The Palace was built by will of Nicolosio Lomellino between 1563 and 1569 approximately, after the project of the Lombard architect Giovanni Battista Castello called il Bergamasco.

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The scenographic nymphaeum is placed at the end of the junction axis among the atrium, the entrance hall and the courtyard. This type of "rustic fountain" points to the evolution of the local taste, which during the 17th century turns the traditional artificial caves of the sixteenth century into open nymphaea overlooking the natural spaces.

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Strada Nuova

The ancient 'Strada Nuova dei Palazzi' was created out of the desire of the aristocratic families in Genoa to build an outstanding district all of their own, a project born halfway through the sixteenth century. In the original project the present Via Garibaldi had the role of linking the two different parts of the city, that is to say it was to become the axis road joining the 'suburb' and the central zone. Strada Nuova immediately became the new aristocratic quarter as here, the wealthy families, found the space to build as they wanted to celebrate their own magnificence.

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 Gold and faith: The Genoese between the fifteenth and sixteenth centuries. (Gabriella Airaldi)

 "Sola fides sufficit" : the Centurione family and the discovery of the New World. (Francesca Boschieri Centurione)

 A palace between city and nature. (Lauro Magnani)

 First buyer Nicolosio Lomellino. (Ennio Poleggi)

 The stucco decoration. (Elena Parma)

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