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The most important of the apartment’s rooms, the Aurora Room was decorated in 1766 with frescoes on mythological themes by the Veronese painter Francesco Lorenzi (1720-1784). Lorenzi was active in the Venetian workshop of Giovan Battista Tiepolo from 1745 to 1750, and returned to work alongside the master in 1761, when Tiepolo was commissioned to carry out the ceiling decorations in the ballroom of Palazzo Canossa in Verona, now lost. It is believed that the Giusti family had originally asked Tiepolo to execute this work, but that he, having been called to Madrid to work for Charles III of Spain in this period, had recommended that his Veronese pupil carry out the commission instead. The Triumph of Aurora occupies the centre of the vaulted ceiling. Damaged by bombing during the Second World War, it was restored in 1954, when the new marble floor was also laid.
The series of interconnected rooms overlooking the garden and which terminate with the Dining Room, are all the result of restoration work carried out in 1954 by the Farina family with the help of the engineer Cesare Benciolini (1894-1977). The walls are decorated with three large landscapes, executed in tempera and inspired by 19th-century engravings of views of Verona as seen from the upper garden. The painter was Reggio-Calabria-born Orazio Pigato (1896-1966).
This room takes its name from the rather curious early 20th-century drawing room furniture decorated with a horseshoe motif which comes from the villa of the Counts of Cittadella, known as la Bolzonella, near Citadella in the province of Padua. On the wall above the sofa, the composition formed of portraits of members of the Citadella family, is of particular note.
In the bedroom the bedroom, the alcove taken up with an imposing Empire-style four-poster bed, designed in 1954 by Cesare Benciolini. The ceiling is decorated with a frescoed allegory of the Triumph of Time and Truth, again the work of Francesco Lorenzi.
This room contains the sculpture fragments from the collection of the Venetian nobleman and senator Girolamo Ascanio Molin dal Molin de Oro (1738-1814), whose daughter Paolina married Carlo Giuseppe Giusti in 1801. The fragments have a varied provenance and date, some being from archeological digs, some medieval or Renaissance, while others are fakes. This Sculpture Room, together with the adjoining Fireplace Room, are the rooms in which the improvements undertaken by Giovanni Giusti dal Giardino and his wife Eleonora degli Albertini from 1926 onwards are most clearly visible. It was in fact in that very year that the couple inherited the palazzo and garden from a cousin, Vettor Giusti (1855-1926), a Government senator in the Regno d’Italia from 1914, and mayor of Padua in the years 1890-1893 and 1897-1899. The Armistice between Italy and Austria-Hungary was signed in Vettor Giusti’s villa at Mandria, near Padua, on 3 November 1918.
The ceiling beams both of this room, known as the Fireplace Room, and of the adjoining Sculpture Room which overlooks the garden, date from the time of Count Agostino Giusti (1546-1615). The decorations on the 16th-century beams, along with the painted ornamental friezes, were added in 1926 by Giovanni and Eleonora Giusti. Incorporated into these friezes are the two coats of arms of the Giusti family: the ancient emblem of the boy’s head, and the modern one in which the boy’s head is quartered with the Habsburg eagle of Emperor Rudolph II, who conferred the title of count upon Agostino Giusti in 1600. The other coats of arms belong to Eleonora Albertini and Lucia Cittadella, wife and mother, respectively, of Giovanni Giusti del Giardino. The 16th-century fireplace was added in 1926. Of particular interest among the sculptural works on display is the bust of a Venetian senator – probably a member of the Molin family – in white Carrara marble, which may be the work of Danese Cattaneo (1512-1572), a Tuscan sculptor active in Venice, and also the allegorical female group in marble by the Venetian sculptor Giovanni Bonazza (1654-1736). The two 16th-century busts of Apollo and Diana, in plaster with gilded highlights, may have formed part of the collection of Agostino Giusti.
The Red Room, with the large corner sofa upholstered in capitonné style, reflects 19th-century taste and takes its name from the red chinoiserie wall hangings. This was the drawing room of countess Eleonora Giusti Albertini, the last member of the family to live in the palazzo.