The Villa


Approaching Villa Sola Cabiati by water, you will find yourself in front of a spectacular grey stone mooring with a double staircase. The steps lead up to the large cast-iron gate bedecked with golden ornaments, and statues of animals and mythological creatures. The fairy tale begins.
You pass the threshold and walk through the wonderful Italian garden with its flowerbeds shaped into arabesques. Before you now is the entrance to the villa, a veritable masterpiece of neoclassical architecture. Step inside and be immersed in opulent halls and precious art collections.

The garden and park

Gently reaching out to the lake waters, the splendid Italian garden is divided into four great parterres bursting with flowers. Extending behind is the more romantic and wild park, sloping up towards the mountain, through pathways lined with ferns and sweet-smelling trees.

The main building

Built in the 16th century, the magnificent Villa Sola Cabiati was redesigned in the neoclassical style in the second half of the 18th century.

Duke Gian Galeazzo Serbelloni gave the villa its unmistakable elegance by adding two beautiful side wings, the large staircase, the marble balconies, and the blue shutters – an homage to the lake waters – completing the harmony of the design with the Italian garden.

The halls

The rooms inside the villa recount the love of one of the most well-known Italian families for art. Extraordinary beauty unites the three spaces in the piano nobile, from the entrance hall, to the drawing room, through to the dining room, all embellished with frescoes and stuccoes by Muzio Canzio.

Look around, and be transported back to yesteryear, the music, the extravagant balls, the refined reception spaces.

The frescoes

The fine frescoes adorning the main hall of the piano nobile, accessed by the scalone d’onore, the great staircase, are the work of Francesco Conegliani, pupil at Tiepolo’s workshop in Milan.

The cycle of frescoes pays homage to Virgil’s Aeneid. The theme of the legendary story of Aeneas, very close to the Serbelloni’s hearts, was likely suggested by Giuseppe Parini.