Loggia and terrace

The Loggia is one of the qualifying elements of the entire Noble Courtyard and is composed of a sequence of three dual bays with arches supported by two Doric columns and pillars. The structure is the fruit of the architectonic renovation of the southeastern wing achieved in the 18th century, with the aim of connecting the rooms of Bartolomeo III Arese to those of his wife Lucrezia Omodei Arese, that were separate following the typical noble usage of spaces in the mansion.

The open and airy architectonic volume had a pictorial decoration of false architectonic partitions set around the doors and portrayals of cupids placed in the medallions of the vaults, which clearly referred to the themes painted on the ceiling of the Gallery of statues. The themes related to the glory of the noble house and the death of one of its exponents, the son, Giulio II Arese, tend to trace the date of these figures to around the year 1665, and through an autograph which critiques relate very closely to Federico Bianchi (1635-1719), who had already worked on the ground floor of the mansion.
The decoration of the door tops is instead made up of mixtilinear cornices with broken triangular drum that leaves space to paintings of sculptured busts, according to a model already proposed in the false openings of the Gallery of statues. On the southwest door, hangs the bust of king Charles V while over that of the northwest appears the effigy of the emperor, Octavian Augustus, thus creating a direct link between the greatest emperor of Christianity and the founder of the Roman Empire, to underline once more the Arese family’s loyalty to the Habsburg dynasty. These elements painted, however, are due to the rich iconographic design of the Roman emperors and monarchs present in the facade overlooking the park and under the portico of the noble courtyard itself, still to be studied in depth. The figures painted here and inserted in false architectonic decorations, are also connected to the Hall of Roman Glory, extensively studied but still not fully analysed in relation to the different images linked to the Roman elements distributed in the mansion.
Particularly intricate and charming is the set of frescoes decorating the vaults, in which ample blue bays surround oval medallions and central octagons, highlighting in the center, the aforesaid winged cupids. These seem to have been purposely painted so that in some hours of the evening, the painted vaults could merge with the blue backgrounds, to create an enchanting emotive experience for the observers who were once called to participate in the scene, also thanks to the use of torches and lamps.