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Este

The archaeological area of Via Santo Stefano is located in one of the oldest districts of the walled city of Este and is also known as the Necropolis of the Ricovero, referring to its proximity to the historic care home for the elderly. This site represents the most important archaeological complex related to the civilization of the ancient Veneti, who founded their first permanent settlement in Este. The city later became the main center of this civilization during the pre-Roman era.  
The necropolis was founded during the Iron Age and retained its funerary function for several centuries. Archaeological excavations have uncovered more than 150 tombs, documenting continuous use of the burial ground from around 800 to 100 BCE. The graves have required scholars to undertake a long and meticulous process of chronological reconstruction. Today, the area is a highly significant archaeological site where visitors can explore the origins and evolution of the culture of the ancient Veneti.

**Excavations and site enhancement**  
The first archaeological investigations in the area date back to the late 1800s, when about 120 pre-Roman and Roman tombs were discovered. These findings formed the original core of the National Atestine Museum, where many of the artifacts are still housed. Later, new excavations in the courtyard of the Este Care Home brought to light important evidence, immediately revealing the exceptional nature of the site.  
In 1983, building renovation works provided the opportunity to further investigate the area. Thanks to the application of new methodologies and the reorganization of collected materials, many hypotheses proposed by 19th-century archaeology pioneers were confirmed. The results made it possible to reconstruct more precisely the different historical phases of the necropolis, identifying its development and the layers that document the social and cultural organization of the ancient Veneti.

**The history of the Necropolis of the Ancient Veneti**

**The earliest phase (800–750 BCE)**  
During this initial phase, the tombs were marked by small earthen mounds bounded by circles of trachyte stones. Each mound held one or two burials, with the cremated remains of the deceased placed in perishable containers or in boxes made of red shale from the Euganean Hills or in wooden caskets. Many of these graves were intended for multiple individuals, serving as family tombs.

**The next phase (750–650 BCE)**  
In this period, the necropolis expanded, and the tombs were delineated by large stone slabs. A distinctive feature of this phase is that the burial structures were oriented toward the settlement, reflecting the bond between the living community and their dead. Additionally, the layout of the burials reveals a clear hierarchical order, indicating the differing importance of family groups.

**The transition between 650 and 500 BCE**  
A radical transformation began in the organization of the necropolis. In the northern part of the area, a large monumental mound was built, enclosed by slabs of shale and trachyte boundary stones. This marked a new sense of monumentality, accompanied by increasing social complexity, also evidenced by innovations in domestic architecture at the time.

**From 500 BCE and beyond**  
Burials were concentrated in the southwestern sector of the necropolis, organized into groups with uniform orientation. Later phases have been more difficult to reconstruct due to disturbances caused by Roman tombs and subsequent interventions in the area.

**The tomb of Nerka Trostiaia**  
One of the most remarkable discoveries of the necropolis is the tomb of Nerka Trostiaia, dating to the early decades of the period between 300 and 200 BCE. It is a monumental grave belonging to a noblewoman, whose rich funerary goods attest to her high status. Among the objects found were precious ornaments and artifacts, which have been restored and are now on display at the National Atestine Museum.

**Preservation and the future of the archaeological area**  
In recent years, excavations of the upper layers of the necropolis have been suspended in order to preserve the site’s stratigraphic context. This decision allows for the archaeological “landscape” to remain legible and for future investigations to be conducted using even more advanced technologies and methods.

**A journey into the history of Este and the ancient Veneti**  
The Archaeological Area of Via Santo Stefano offers a unique immersion into the history of the ancient Veneti civilization, documenting not only their social and cultural evolution, but also their relationship with the world of the dead—so closely tied to the transformations of the living community. Today, the site is a point of reference for enthusiasts of archaeology and ancient history, a place where the past comes to life through the material remains and the stories they tell.

Archeologic area

Protohistoric Necropolis

Palazzo Mocenigo was built by the Venetian patricians of the Mocenigo family at the end of the 16th century along the Sirone canal. The main façade incorporates a section of the ancient walls of the Este Castle, dating back to the 14th century and then owned by the same family. The castle, in turn, stood on the site of the first feudal residence of the Este family, dating back to 1056. Initially, the building consisted of two symmetrical bodies arranged in an L shape, but the south-east wing was destroyed by a fire in 1785.
Today, few of the original elements are still visible. On the main floor, three halls preserve the frescoed vaults, traditionally attributed to Giulio Carpioni (1611-1674), a Venetian painter, while recent studies seem to question this paternity. The frescoes feature complex architectural quadratures within which are depicted putti, triumphs of fruit and flowers, and allegorical figures celebrating the virtues of the Mocenigo family.
The building is on two floors and has, on the main floor, arched windows with rustic stone frames and stone balustrades. Since 1902, Palazzo Mocenigo has housed the precious Museo Nazionale Atestino, an unmissable stop for lovers of history and art.

Palace

Palazzo Mocenigo

**The Church of the Blessed Virgin of Health**, also known as the *Church of Miracles*, is one of the most original and evocative buildings in the city. Its origin is linked to the veneration of a miraculous image of the Blessed Virgin Mary of Mount Carmel.

### **The Miraculous Image of the Blessed Virgin Mary**

In 1626, Giovanni Antonio Capovino (1576–1654), a priest since 1642, commissioned a devotional painting of the Virgin Mary with the Child Jesus, titled *Ave Regina Caelorum*. The artwork, created by the Este-born painter Giulio De Rossi (who died around 1640), was placed on a pillar of the boundary wall of Capovino's property in Borgo San Pietro. 

Starting in 1638, several miraculous events connected to the image sparked deep popular devotion. In June 1639, the community requested the construction of a place of worship to honor the image.

Initially, the Virgin was venerated under the title *Our Lady of Miracles*, but in the 1820s, the title *Our Lady of Health* prevailed, thanks to the will of Gaetano Rizzardi, the archpriest of the Cathedral (who died in 1834 and was regarded as a saintly figure). At the request of the people, he was buried in the church’s presbytery.

### **Construction of the Church of Health**

Thanks to numerous donations from the faithful, construction was able to begin. The church was designed with an octagonal plan, typical of Marian churches. The building features a single nave covered by a vaulted ceiling topped with a windowed lantern, while the eastern chapel houses the altar with the miraculous image. On either side of the presbytery rise two slender octagonal bell towers with domes covered in lead.

The foundation stone was blessed on 26 September 1639. Construction began under the direction of the architect Antonio Zuccato from Este, who drafted the first project. However, after part of the walls collapsed in December of the same year, the project was handed over to Francesco Zanini from Padua. The building was blessed and opened for worship on 19 August 1641 by Archpriest Giovanni Battista Gnagnotti, while work on the bell towers continued until 1644.

Ownership of the church was transferred to the *Magnifica Comunità di Este* in 1639 by Capovino, who donated the land for the construction of the oratory. The community, under the authority of the Venetian administration, was responsible for the building’s maintenance and administration, while the Cathedral parish oversaw religious activities. The miraculous image was preserved intact, along with the piece of wall it was painted on, and placed in a niche above the main altar.

### **Artistic Decoration**

Between 1649 and 1721, the church was enriched with extraordinary sculptural and pictorial decoration, making it a true jewel of art and faith.

**Main Altar:**  
The inlaid altar was created by the Florentine craftsmen Pierpaolo Corbelli (+1649) and his son Antonio (1624–1707) between 1649 and 1653. The angels atop the altar were sculpted by the Venetian artist Paolo Callalo (1655–1725) in 1713, while the two main portals were created by Antonio Peschiera in 1650.

**Painted Cycle:**  
A complete cycle of canvas paintings, executed between 1655 and 1721 by important artists, adorns the church’s interior.

**Main Chapel:**  
- **Altarpiece:** *The Eternal Father in Glory with Saints Andrew and Lawrence* (Pietro Liberi, 1671)  
- **Right wall:** *Adoration of the Magi* (Antonio Zanchi, 1709) and *Birth of the Virgin* (attributed to Tommaso Formenti, c. 1705)  
- **Left wall:** *Communion of St. Aloysius Gonzaga* (Federico Cervelli, c. 1674) and *Death of the Virgin* (attributed to Bartolomeo Litterini, c. 1705)

**Octagonal Nave:**  
- **Above the arches:** Canvases depicting the Apostles (including Peter, Paul, John, and James), the four Doctors of the Church (Ambrose, Augustine, Jerome, and Gregory the Great), and other Apostles (Thomas, Jude Thaddeus, Simon, Matthew, and James the Greater), painted by Zanchi between 1703 and 1704.  
- **Seven large canvases** in the arches portray scenes from the life of the Virgin, including:  
  - *Presentation of Mary at the Temple* (Zanchi, 1700)  
  - *Saint Thecla Intercedes for Este* (Giovanni Brunelli, c. 1656)  
  - *Presentation of Jesus at the Temple* (Giovanni Antonio Fumiani, 1701)  
  - *Annunciation of the Virgin* (Zanchi, c. 1702)  
  - and others

**Frieze above the marble paneling:**  
Eight canvases depict scenes from the life of the Blessed Virgin and Old Testament female figures who prefigure Mary, including:  
- *Queen Esther Intercedes for Her People before Ahasuerus* (Zanchi, 1712–1715)  
- *Bathsheba Crowns Solomon* (Zanchi, 1712–1715)  
- *Visitation of the Blessed Virgin to Elizabeth* (Lamberti, 1707)  
- and more

**Painted Frieze:**  
Antonio Del Soldà (1659–1726), a painter from Este, created a decorative frieze of floral and fruit motifs running beneath the cornice in 1707.

### **A Message of Faith**

The extraordinary artworks of the Church of Health tell the story of salvation, showing humanity on its journey toward God and the longing for His nearness during earthly life.

Since 2019, the Church of Health has been entrusted to the Orthodox Community. It now hosts religious art from both Catholic and Orthodox traditions, blending into a unique and evocative artistic and mystical dialogue.

Church

Beata Vergine della Salute

Pre-Roman Route

The Carrarese Castle of Este, a majestic testament to the strategic and cultural importance of the Este area in the Middle Ages, stands imposingly at the southern end of the Euganean Hills, enclosed by a powerful city wall about one kilometer long. Its large towers and defensive system tell a story of power, warfare, and cultural splendor.

**Origins: a castrum with ancient roots**  
The oldest part of the fortification lies on the elevated side of the hill, where the remains of a small church and the foundations of a tower—probably dating back to the 6th century AD—are still visible.  
The first mention of an actual *castrum* dates to 1115, when the structure was entrusted to the feudal family that took its name from Este. Initially a defensive stronghold, the castle took on a dual role as a territorial protector and the center of the jurisdictional power of the Marquises of Este, who ruled the area.  
Between the 12th and early 13th centuries, the Este family expanded the fortress by building new walls and residential buildings. During the rule of Azzo VI d’Este, the fortress reached its peak, becoming an important center of troubadour culture. Poets, artists, and jesters animated the marquis’s court, celebrating his deeds and the beauty of his daughter, Beatrice d’Este, a renowned lady and patron of the time.

**Wars and destruction: the decline of the Este castle**  
The castle, at the heart of Este power, was repeatedly involved in the violent wars between the Guelphs and Ghibellines. Aligned with the Guelphs, the Este family suffered numerous sieges that severely damaged the fortification.  
In 1249, the castle was destroyed by Ezzelino III da Romano, the Ghibelline lord of Padua, who later restored it. However, in 1294, with control of Este firmly in Paduan hands, the castle was demolished again at the will of the city of Padua.

**The Carrarese reconstruction**  
The current configuration of the castle dates to 1339, when Ubertino da Carrara, lord of Padua, decided to rebuild it as a formidable and modern military fortification. The castle was equipped with a mighty wall, reinforced by master towers and turrets, protecting both the flat and hilly parts of the structure.  
At the beginning of the 15th century, following the voluntary submission of the city of Este to the Republic of Venice, a second wall was built to enclose the new urban center, bordered by the Bisatto Canal.

**From noble palace to decline**  
Over time, as the castle’s strategic importance declined, it lost its military function. In 1570, the wealthy and powerful Venetian Mocenigo family purchased the complex and began constructing a sumptuous palace on the southern side of the Carrarese fortification.  
The Mocenigo Palace was composed of two symmetrical buildings, but its construction required the demolition of some medieval towers. Unfortunately, the eastern wing of the palace was destroyed by a fire in the 18th century, leaving only the western part standing, which now houses the Atestine Archaeological Museum.

**The Carrarese Castle today**  
In 1887, the Municipality of Este purchased the entire castle complex, designating it for public use. The large green area within the walls was transformed into public gardens, inaugurated in 1915.  
Today, the Carrarese Castle is a magnificent historic park, home to valuable tree species and centuries-old plants. Its impeccably maintained green spaces provide a charming setting for lush blooms, pleasant walks, and numerous cultural events, including the important spring event “Este in Fiore.”  
The remaining part of the Mocenigo Palace now houses the prestigious collections of the Atestine Archaeological Museum, which preserves extraordinary artifacts related to the ancient Veneti civilization and the history of the region.

**A journey into medieval history**  
The Carrarese Castle of Este represents an extraordinary example of medieval architecture and a symbol of the historical and cultural events that shaped the Este territory. With its gardens, imposing walls, and the historical and archaeological wealth of the museum, the castle is today an unmissable stop for anyone wishing to immerse themselves in the history of Este and its glorious past.

Castle

Castello Carrarese

The Soccorso Complex, an integral part of the Carrarese Castle of Este, is a structure of great historical and architectural value. It stands out for the presence of the Torre del Soccorso, one of the three main towers of the castle, called “maistre” or mastii, which, unlike the 14 smaller towers (or “torresini”), were more powerful and equipped with internal accesses. The castle was built between 1339 and 1340 by order of Ubertino da Carrara, lord of Padua.
Of the three main towers, two remain today: the summit keep and the Soccorso keep. The third tower, called “del Tormento” (located to the south, near the entrance to the village of Este), was demolished in the second half of the sixteenth century to make room for the construction of the Palazzo Mocenigo, now home to the Museo Nazionale Atestino. A trace of this tower is visible in the rough medieval masonry preserved on the terrace of the palace that dominates the entrance to the Gardens.
The Torre del Soccorso, so called because of the presence of an escape route that connected the castle to the top of the hill, served as the northern access gate to the castle. It was strategically positioned along the foothill road that connected Este to Monselice and Padua, an important communication and defense artery.

Tower and Walls

Complesso del Soccorso del Castello Carrarese

Dominating the urban landscape and standing as a symbol of the Euganean Hills along with the city walls, the Keep of the Carrarese Castle rises at the apex of the triangle formed by the town's fortifications. Already mentioned in documents from the 11th century, the Keep was originally flanked by a small church, likely incorporated into the defensive structures completed by the Carrarese family.

One of the most iconic views of the Keep can be seen from the City Wall Gate, historically adorned with a majestic wisteria vine that adds to its charm. This viewpoint has been captured in countless photographs, becoming one of the most representative images of Este.

The Keep Tower marks the central axis of the city: from it begins the town’s *cardo*, the main north-south street, which runs through the historic center along Via Matteotti, eventually reaching another major symbol of Este, the Porta Vecchia Tower.

The surrounding park was also designed to highlight the view of the Keep: thanks to the careful placement of trees, the tower remains visible all the way from the Torre Bridge, offering a unique perspective that spans the entire city of Este.

**History and Architecture**  
Built between 1339 and 1340, the Keep has a square plan, with each side measuring 5.75 meters and a height of about 21 meters. It stands on the foundations of a pre-existing pentagonal tower dating back to the Este period. Archaeological excavations carried out in the early 1990s uncovered the remains of the late-Este keep base, built around 1220 by Marquis Azzo VII d’Este.

The area underwent major restoration between 1994 and 1996, which allowed for the recovery and enhancement of the entire complex. Later, in 2001, an additional intervention unified the visual appearance of the Keep with the surrounding walls and towers, improving overall integration. However, the growth of vegetation in the garden has made the ancient structures located at the highest point of the enclosure less immediately visible. We invite you to visit one of Este’s most fascinating monuments—a symbol of a past that still lives in the heart of the city.

Keep

Keep of Castello Carrarese

The Church of San Martino is the oldest church in Este. It is located in the heart of the city’s historic center, just a few steps from Piazza Maggiore along Via Principe Umberto. The first documents attesting to its existence date back to the early 11th century, though its foundation is likely even earlier. Some scholars place its origins in the Lombard or Carolingian period, based on its dedication to Saint Martin of Tours, a 6th-century French bishop.

Despite the alterations made over the centuries, the building has preserved much of its medieval structure and stands as the city’s oldest religious monument. Compared to the original construction, the apse was expanded in the early 14th century, incorporating the nearby chapel of San Lorenzo. In the 17th century, the church’s central body was extended by about four meters, moving the façade westward and dividing the interior into three naves, which also incorporated the bell tower.

The gabled façade, which clearly reflects Romanesque architectural style, is notable for its simplicity. The apse structure, composed of a cylindrical drum with a hemispherical dome and a conical roof, shares construction features with the Basilica of Saint Anthony in Padua, giving the building a strong stylistic coherence.

One of the church’s most distinctive elements is the leaning bell tower, the oldest part of the monument. The tower, approximately 23 meters tall, shows a pronounced tilt that already appeared in the 14th century but has never compromised its stability. On one side of the tower, a Gothic inscription celebrates the saint to whom the church is dedicated and records the year of its reconstruction: 1293.

Inside the Church of San Martino are preserved several valuable artworks. In the main chapel stands an 18th-century marble altar with a tabernacle and two angel sculptures by Antonio Bonazza. In the Chapel of San Lorenzo, a 14th-century fresco in the Giotto style depicts *Christ Crucified between Mary and Saint John*. Along the right wall of the nave are the remains of a triptych showing the *Madonna and Child with Saint Peter* and other saints, while a fragment of fresco depicts the *Crucifixion of Saint Margaret of Antioch*.

On the left side of the nave is the 16th-century polychrome marble altar of the Rota family, originally dedicated to Saint Stephen. The niches of this altar once held three statues, of which those depicting Saint Roch and Saint Sebastian are now preserved at the National Atestine Museum. The predella above the altar features scenes from the lives of the three saints, showing from left to right: *Saint Roch captured and taken to prison*, *Saint Stephen dragged before the Sanhedrin*, and *Martyrdom of Saint Sebastian*.

Today, the Church of San Martino is part of the parish of the Basilica of Santa Maria delle Grazie and can be visited on Sundays during certain times of the year.

San Martino

The Rocca di Ponte della Torre, built to defend the ancient city of Este, rises majestically beside the Frassine River and is one of the few remaining examples of medieval fortifications in the area. It forms a key part of the extensive system of fortified outposts constructed between the 12th and 13th centuries, designed to protect the main access routes to the city.

Like the nearby Castle of Este, the Rocca di Ponte della Torre has experienced numerous historical events. Likely destroyed during the raids of Ezzelino da Romano, the tower was later occupied by the Scaligeri. However, it was under the rule of the Carraresi that the fortress took on the form we see today, around the mid-14th century, when the strategic value of the site was fully recognized. During the Venetian period, the fortress was further enhanced, with the addition of a floor that brought its height to 24 meters. The Venetians removed the original battlements and added large round-arched windows, giving the tower a more imposing appearance.

In 1597, having lost its military function, the Serenissima ceded the fortress to the Municipality of Este. In the following centuries, around the square tower—which remained the heart of the complex—an oratory and some rustic buildings were constructed, transforming the ancient stronghold into an integral part of the town’s landscape.  
The Rocca di Ponte della Torre, a symbol of resilience and protection, remains today a silent witness to past eras and an important historical attraction.

Fortress

Rocca di Ponte della Torre

Itinerario Medievale

Villa Contarini, also known as Palazzo del Principe, stands on Colle Cero overlooking the city of Este. It was built in the 16th century as a summer residence by the noble Venetian Contarini family, possibly based on a design by the famous architect Vincenzo Scamozzi (1552–1616), although this attribution is not certain. The name “del Principe” (“of the Prince”) derives from a historical episode: the election of Alvise Contarini as Doge in 1676, which took place while the patrician was residing in his villa in Este.

The building, as it appears today, shows two distinct phases of construction: the older part is on the south side, while the north side was added later and underwent numerous alterations over the centuries. The villa is surrounded by a large courtyard paved in trachyte and presents itself as a quadrangular block, characterized by pedimented facades preceded by staircases. The slightly protruding base, the portals, and the windows are embellished with rusticated stonework, a hallmark of the architecture of the time.

The villa’s architectural layout is almost unique in western Veneto: it is a square with an inscribed Greek cross, to which a shallow but protruding rectangular section is added on the north side. Inside, the central hall dominates, with a Greek cross layout ending in four doors opening to the outside. The ceiling is barrel-vaulted, while the walls are decorated with 19th-century frescoes depicting landscapes.

The complex is enriched by outbuildings and a small chapel, completing its architectural ensemble. Two rows of cypress trees climb the southern slope of the hill toward the villa, partially recreating the theatrical effect depicted in some 18th-century engravings, testifying to the grandeur and beauty of the site.

Currently, Palazzo del Principe is privately owned and not open to the public.

Villa

Palazzo del Principe

Villa Kunkler, also known as Villa Byron, is an authentic historical and cultural jewel that embodies the romantic spirit of the 19th century. This magical place, where poetry, art and nature merge, is closely linked to illustrious figures of romantic literature such as George Gordon Byron, Percy Bysshe Shelley and Mary Shelley.
The villa, originally a Capuchin convent, was later transformed into a private residence, becoming an ideal refuge for poets and intellectuals. In 1894, on the facade of the house, next to the room where the memories of the poets' stay are believed to have been kept, an inscription dictated by the Este poet Gaetano Sartori Borotto was walled up: «Giorgio lord Byron / in 1817 and 1818 / lived in this villa / had as a guest / Shelley / and here he wrote, ranging / through nature and the castle / with wings of immense imagination».
Although Byron only rented the villa from the English consul in Venice, its charm struck him deeply. However, in reality, Byron used it more as a practical solution than a personal one: in the summer of 1818, to avoid Claire Clairmont, a young woman with whom he had had a brief affair, Byron gave the villa to Shelley and her family. Shelley, Claire and later Mary Shelley (with their daughter) took up residence in the villa for about two months, although their stay was marked by the tragic death of the child. Despite the mourning, the period spent in Este was extraordinarily prolific for Percy B. Shelley. He chose a pavilion in the garden of the villa as a place of work, and it was there that two of his masterpieces were born: the poetic dialogue Julian and Maddalo and the lyric drama Prometheus Unbound. He was also inspired by the breathtaking view of the Euganean Hills to compose the poem Verses Written Among the Euganean Hills, where the Hills emerging from the autumn mists are transformed into a metaphor for salvation: islands of serenity in a sea of ​​suffering.
During the 19th century, the villa passed to the Kunkler family, who made important transformations. Adolf Kunkler, a horse enthusiast, built a unique stable, the famous “palasso de tola”. This building, designed in Alpine style and embellished with refined wooden details by the artist Valentino Panciera, known as Basarel, added a touch of originality to the property.
The villa, with a “U” structure, is developed around a central courtyard. Separate entrances lead to elegant spaces, including living rooms, a library and reception areas. All around is an enchanting park, populated by centuries-old trees and overlooking the Euganean Hills, which with their timeless charm recall the romantic atmosphere that inspired the famous poets of the past.
Today, despite being a private property and accessible only on certain occasions during the year, Villa Kunkler is a symbol of the history and culture of Este, an irresistible attraction for lovers of literature and art. The memory of its illustrious guests, combined with its architectural and natural charm, continues to evoke an era of extraordinary creativity and romanticism, transporting anyone who approaches it to the pulsating heart of the 19th century.

Villa Kunkler

Villa Vigna Contarena, also known as Villa Contarini degli Scrigni, is one of the most fascinating historic homes in Este. Located at the foot of Monte Murale, the villa is surrounded by a large park that extends to the walls of the Carrara castle, and the main entrance is located in Via Cappuccini. The current building, built in the early seventeenth century, represents the expansion of a previous construction and belongs to the heritage of the villas built by the Contarini family during the rule of the Serenissima Republic, which in the fifteenth century also involved the Euganean area.
The client of the villa, Giorgio Contarini, a member of the San Trovaso branch known as "degli Scrigni," wanted to include several structures, including a vegetable garden and other appurtenances. At the beginning of the eighteenth century, the villa was enriched by a neoclassical pronaos with elbow steps and Ionic columns. The facade is embellished with a refined dormer surmounted by a tympanum.
The interiors of the villa are decorated with great value. In the atrium, painted lunettes and niches enclose allegorical figures such as Meekness and Charity. The main hall features mythological scenes, including Diana and Endymion, Apollo and Daphne, and others related to the myths of Apollo and Diana. These frescoes, created between the end of the seventeenth century and the beginning of the eighteenth century, are characterized by a style that combines Baroque and Rococo elements. On the second floor, other decorations depict the Seasons and the Cardinal Points, as well as additional mythological figures brought to light with recent restorations. A distinctive element of the property is the “Secret Garden”, a garden enclosed by a wall, enriched with stone seats and niches that once housed statues. This space, conceived as a Renaissance hortus conclusus, housed archaeological finds collected by Giorgio Contarini, transforming the residence into a small museum. The collection of Roman inscriptions was later donated to the Municipality of Este by Count Cristiano Haugwitz, owner of the villa since 1805, contributing to the creation of the Stone Museum, precursor of the current National Atestino Museum.
In the park of the villa there are imposing trees such as a Macedonian pine, cypresses and hornbeams, as well as the tomb of Count Haugwitz, who spent the last years of his life in the villa and was buried there in 1832. Currently, the villa is owned by the Caporali family, who completed a major restoration in 2024 and made some rooms available for tourist rental, offering visitors the opportunity to stay in a place rich in history and charm.

Villa Vigna Contarena

Villa Benvenuti is a Venetian villa of great historical and archaeological interest. The first evidence of residential use of the area dates back to the 16th century, when the patron and writer Alvise Cornaro built a residence there. In the 18th century, the property passed to the noble Venetian Farsetti family, and in the 19th century it was purchased by the Venetian doctor and patriot Adolfo Benvenuti, from whom the villa takes its current name. The surrounding park was designed—or at least inspired—by the style of Giuseppe Jappelli. Today, the villa is one of Este’s most important archaeological sites, thanks to excavations conducted at the end of the 19th century by Alessandro Prosdocimi, which brought to light numerous artifacts of the ancient Veneti people.  
After a long period of abandonment, the villa is now the subject of an important restoration project promoted by the Scauteste Onlus Association.

**History**  
In the 16th century, a hill above the city of Este was inherited by Alvise Cornaro, a Venetian patron known for his interest in architecture. Cornaro was responsible for the construction of Villa dei Vescovi in Luvigliano and the Loggia and Odeo Cornaro in Padua. In his mainland properties, he also promoted land reclamation works. The Este residence, modest in size, was used in spring and autumn and hosted notable figures such as the playwright Angelo Beolco, known as "Ruzante." Among the architectural elements commissioned by Cornaro was the *Arco del Falconetto*, attributed to Giovanni Maria Falconetto and built between 1522 and 1523.

In the early 18th century, the villa passed to the noble Farsetti family, who expanded the building and brought it to its current form. Prints and views from the time show the appearance of the villa, with a staircase connecting the entrance arch to a quatrefoil-shaped fountain near the residence.

During the transitional period between the fall of the Republic of Venice, Napoleonic rule, and the Austrian restoration, records on the villa become fragmentary. Around 1840, the property was acquired by Adolfo Benvenuti, who transformed the building with a neoclassical style. He was also responsible for expanding the park, designed in the Romantic style, probably with input from Giuseppe Jappelli. Between 1879 and 1880, Alessandro Prosdocimi conducted archaeological excavations at the foot of the park, uncovering a necropolis of the ancient Veneti. The artifacts are preserved in the National Atestine Museum in Este.

In 1918, the villa was converted into an orphanage for girls orphaned by World War I and entrusted to the Sisters of Mercy. In 1936 it was transferred to the *Pia Casa di Ricovero*, later renamed the *Santa Tecla Foundation*.  
After being used as an orphanage, the villa temporarily served as a school and parish center, before being closed and left to decay.

In 2011, the Scauteste Onlus Association launched a project to restore the villa and park. Among the first interventions were the restoration of the stables, the guesthouse, and the fountains, including the *Nymphaeum* behind the building. The villa is now partially open to the public, particularly during the floriculture event *Este in Fiore*, and is used for educational and nature-based activities for schools, scout groups, and youth associations.

**Architecture**  
Villa Benvenuti has a rectangular layout with a raised central section crowned by a rectangular pediment. The main façade features nine bays, with a three-light window above the terrace and attic windows adorned with decorative frames and wrought-iron railings. The lateral volumes are decorated with dentil cornices under the eaves.  
The entrance to the garden is marked by the *Arco del Falconetto*, designed by Giovanni Maria Falconetto and built in Nanto stone.

**Archaeological site**  
The garden of Villa Benvenuti is one of the most important archaeological sites in the Veneto region. It occupies a portion of a necropolis from the settlement of the ancient Veneti, located between the Euganean Hills and a branch of the Adige River. During the 19th-century excavations, numerous pre-Roman tombs were discovered. The artifacts—including the famous *Situla Benvenuti*—are now housed in the National Atestine Museum.  
The *situla*, a masterpiece of Atestine art, comes from tomb “Benvenuti 126” and was exhibited in 2013 at the exhibition *Venetkens – Journey into the Land of the Ancient Veneti* in Padua.

Villa Benvenuti

The Falconetto Arch is an imposing stone portal that stands at the entrance to Villa Benvenuti, in via Cappuccini in Este. Located along the outer perimeter of the Carrarese Castle curtain wall, in a westerly direction, the monument is at the height of the ancient path that climbs towards the hill. This extraordinary arch serves as the entrance to the large park of Villa Benvenuti, a residence built in the nineteenth century.
The Arch, probably built around 1525, is attributed to the famous Veronese architect Giovanni Maria Falconetto (1468-1540), who was very active in Padua in those years. The land on which the monument stood belonged to the wealthy Venetian Alvise Cornaro, known for having founded one of the liveliest cultural circles in Padua, frequented by leading artists, including Falconetto himself and the playwright Angelo Beolco, known as “il Ruzante”.
In his Treatise on Sober Life, Cornaro describes the place as «the most beautiful site in the Hills». This text reveals that Cornaro stayed in Este twice a year, in spring and autumn, to enjoy the fruits of the countryside, hunting and the peaceful environment. It was in this very place, a few steps from the fourteenth-century castle, that Cornaro decided to buy land to build his country villa, equipped with a large “amenissimo giardino” full of fruit trees and fine vines. Inside this property he erected the Arch, the function of which is still being studied: it is assumed that it was conceived as a decorative element of the park, but also as a backdrop for an open-air theatre. In fact, Ruzante’s presence in Este is documented during the period in which the arch was built, suggesting that the author of comedies probably entertained his friend and guests with lively theatrical performances in the Paduan dialect. The Falconetto Arch is inspired by the shapes of the famous Arch of Janus Quadrifrons, which Falconetto had seen during his stay in Rome and which he reproduced in a painting inside Palazzo d’Arco in Mantua. Made of Nanto stone, a soft sedimentary rock that is easily subject to erosion, the arch has suffered damage over the centuries due to atmospheric agents. However, the two winged figures on the sides of the mask, which serves as the keystone of the arch, remain clearly visible. Unfortunately, the statues that once decorated the lateral niches, in the shape of a shell, have been lost.

Renaissance monument

Arco del Falconetto

The Cathedral of Santa Tecla is the main place of worship in Este and represents the city’s oldest Christian church. Its foundation likely dates back to the 4th or 5th century AD, when a church dedicated to Saint Thecla—a virgin and martyr from Anatolia—was built over the remains of a pre-existing pagan structure. Over time, the building underwent various modifications and reconstructions, resulting in the current Baroque-style structure, which houses numerous works of art, including two 18th-century masterpieces: an altarpiece by Giambattista Tiepolo and a sculptural group by Antonio Corradini.

**History and transformations of the Cathedral**  
The location of the Cathedral, in the western area of the historic center, suggests that in ancient times the city's residential nucleus differed from today's. It is believed that a pagan temple once stood on the site, upon whose remains the first Christian building was erected. During the Middle Ages, the church was expanded and equipped with five naves. Originally oriented with the apse to the east and the entrance to the west, its layout was reversed between 1583 and 1592 at the initiative of Archpriest Francesco Antonio Fracanzani, who commissioned Vincenzo Scamozzi to rebuild the façade facing the new town center.

A violent earthquake in 1688 necessitated the complete demolition of the church. The reconstruction, supported by the citizens and promoted by Archpriest Marco Marchetti, was entrusted to the Venetian architect Antonio Gaspari. The new church, designed in Baroque style, features a unique layout with the axes of the chapels and altars converging toward the center of the elliptical nave. The visual effect is enhanced by the deep presbytery and the tall central dome, which illuminates the entire building. Work began in 1690 and continued until the 1730s, although the façade—designed to be decorated with marble and statues—was never completed.

**The Cathedral’s artworks**  
Among the most celebrated works in the Cathedral is the altarpiece in the apse, painted by Giambattista Tiepolo in 1759. The canvas, titled *Saint Thecla Interceding for the Liberation of Este from the Plague*, is considered a masterpiece of sacred art. The painting depicts the miracle attributed to the saint’s intercession during the plague of 1630, with a dramatic contrast between shadows and a divine light that illuminates Saint Thecla’s face. In the background, the monuments of Este and the Euganean Hills can be seen.

Another important work is the sculptural group *Triumph of the Eucharist* by Antonio Corradini, located in the Chapel of the Blessed Sacrament. Made of Carrara marble, it includes the famous statue *The Veiled Faith*, a masterpiece of sculptural illusionism.

In the opposite chapel is a monumental 17th-century Crucifix, carved from Swiss pine by Francesco Terilli, accompanied by marble statues by Bernardo Falconi depicting Mary Magdalene and the Virgin Mary supported by Mary Salome.

The sacristies of the Cathedral house around 80 paintings dating from the 15th to the 19th centuries, while the Oratory of San Valentino preserves valuable canvases and the presumed relics of the saint.

**The Altar of Blessed Beatrice d’Este**  
Blessed Beatrice d’Este, co-patron saint of the city, is remembered for renouncing court life to dedicate herself to religious devotion. Venerated since her death in 1226, her incorrupt body is preserved in a crystal urn at the second altar on the right side of the Cathedral. Above the altar is a 19th-century altarpiece by Michelangelo Grigoletti depicting Blessed Beatrice with the Virgin Mary and Saint John the Baptist. Every year, on May 10th, objects belonging to the Blessed are displayed—preserved intact over the centuries thanks to the care of devoted custodians.

Cathedral

Santa Tecla

Located on the edge of the town of Este, a few steps from the Duomo and the central Piazza Maggiore, Villa Albrizzi is an elegant historic residence surrounded by a lush and charming park.
The architectural complex consists of the main villa, a barchessa and a party pavilion, inside which you can admire splendid stuccoes dating back to the eighteenth century, still perfectly preserved today.

**A journey through the history of Villa Albrizzi**
The history of the villa began in 1666, when the wealthy Venetian Zenobio family purchased the property. The villa was restored and expanded with the addition of the barchessa and the pavilion, giving it a highly prestigious architectural imprint.
In the mid-eighteenth century, the property passed to the Albrizzi family, who made important changes to the garden. The new owners were inspired by the landscapes of English and French gardens, transforming the park into a true jewel of botanical and landscape art. In the summer of 1961, Bruce Chatwin stayed in that villa, rented by Teddy Milington Drake, an English painter with whom he had shared a love story. On the walls of one room, Drake had copied some of Baudelaire's verses most loved by his friend: "There is nothing but order and beauty / Luxury calm and voluptuousness". In front of the gate of the villa there is a small port, while the initials of the ancient owners are engraved on trachyte slabs, fixed to the sides of a small gate, from which one descends to the bank of the Bisatto. Today, the garden of the Villa has been enriched by a splendid swimming pool and an elegant tennis court, which add a note of modernity without altering the historical balance of the complex.

**Staying at Villa Albrizzi**
Villa Albrizzi is an exclusive location that offers its guests the opportunity to stay in a refined and evocative atmosphere. The accommodations, available from mid-May to mid-September, are distributed across the three floors of the villa and in apartments located in the barchessa.
The rooms of the villa, finely furnished, combine the charm of history with modern comfort. Each room is equipped with satellite TV, Wi-Fi and all the necessary services for an unforgettable stay. In addition, the service staff is available to prepare meals, ensuring an experience of luxury and relaxation.

Villa Zenobio Albrizzi

Located in the heart of Este, in the province of Padua, Villa Dolfin Boldù represents one of the most significant architectural jewels of the city. Built in the 17th century, this elegant Venetian villa is a symbol of the prestige and refinement of the noble families who lived there. Commissioned by the Dolfin family, the villa reflects the architectural canons of the time, characterized by a harmonious combination of functionality and aesthetic beauty.
Over the centuries, the villa has been not only a private residence, but also a meeting place for intellectuals and artists. The Dolfin family, known for their patronage, promoted cultural events that helped make Villa Dolfin Boldù a point of reference for the cultural life of the area.
With the passage of time and political and social changes, the villa has passed through several hands, undergoing modifications and restorations to adapt to new uses and the needs of different eras. However, its historical essence has remained intact, preserving architectural and decorative details that testify to its glorious past.

A new chapter: the public library
Today, Villa Dolfin Boldù is experiencing a new season of centrality in the life of the Este community, hosting the city's public library since 2006, named after Countess "Ada Dolfin Boldù" due to the donation in 1940. This important cultural service has transformed the villa into a place accessible to all, combining the historical value of the building with the modern function of promoting knowledge and education.
The library offers a rich book heritage that ranges from contemporary fiction to non-fiction, from children's volumes to historical and scientific texts. The spaces of the villa have been adapted to accommodate readers of all ages, with bright and comfortable study rooms, corners dedicated to children and areas for cultural events such as book presentations, conferences and workshops.
In addition to its traditional function, the library of Villa Dolfin Boldù is also a center of aggregation and cultural innovation. Thematic events, exhibitions and educational activities are held regularly, strengthening the link between past and present and enhancing the historical legacy of the villa.

A bridge between past and future
Today, Villa Dolfin Boldù represents a bridge between historical prestige and contemporary cultural vivacity. The transformation of the ancient residence into a public library testifies to the commitment of the Este community to preserving its historical heritage, while making it a living and dynamic tool at the service of citizens.
Through this new function, the villa continues to be a place of inspiration, combining memory and innovation, tradition and modernity, in a space that belongs to everyone.

Villa Dolfin Boldù

Overlooking the ancient Piazza Maggiore stands the Town Hall, a building with a long history rooted in the Venetian era. At that time, it was known as the Palazzo Pretorio, residence of the *podestà* sent from Venice, and between 1870 and 1920 it served as the courthouse. The building has undergone numerous renovations and transformations over the centuries, but the current noble façade dates back to the late 18th century. A commemorative plaque on the façade recalls the visit of Giuseppe Garibaldi, who addressed the citizens from this very spot on February 26, 1867.

The large loggia of the palace, once crowded with traders and farmers on market days, remained for a long time a lively place for meetings and commercial exchange. This was also the location of the Caffè Borsa, inaugurated in the early 1930s.

Inside the Town Hall, the staircase houses the monument to Vittorio Emanuele II, created by sculptor Antonio Dal Zotto (1881), along with works by the Este-born sculptor Gino Vascon. The space is enriched by ancient coats of arms of Este families who held the main public offices during the Venetian era.

On the main floor, the central hall opens up, decorated with fine Venetian school canvases. Among them stands out the altarpiece *Saint Felix of Cantalice receives the Infant Jesus from the Virgin in the presence of Saint Francis*, painted by Antonio Zanchi between 1695 and 1697. The elegance of the building continues in the Council Room, where the ceiling is adorned with another work by Zanchi, *Saint Thecla implores the Holy Trinity to protect Este*. On the walls of the room are plaster busts of six distinguished citizens, celebrated as models of civic virtue and meritorious in the arts and letters.

Opposite the Council Room is the Hall of the Magnificent Community, an extraordinarily refined space lined with an imposing series of solid walnut cabinets extending over 15 meters. Created in the late 16th century for the *Monte di Pietà*, these cabinets feature a continuous sequence of double-leaf doors enriched with elegant walnut burl panels.

Returning to the façade of the Town Hall, alongside the stone coat of arms of the city, two inscriptions stand out: one commemorates the brief stay in Este of the sons of King Vittorio Emanuele II, and the other is dedicated to the Este citizens who fell in the wars of the Italian unification.

Town Hall

The Porta di San Francesco dates back to the 16th century. An inscription carved into the pediment on the outer side attributes its construction to the Venetian *podestà* Girolamo Zorzi in 1581, as stated in the engraving: «Hieronymo Georgio Praetore MDLXXXI». On the right side of the doorjamb, another inscription is embedded—though incomplete—that refers to the bridge. Currently, only the date is visible, but when the inscription was intact, it confirmed that the construction of the bridge was overseen by *podestà* Giovanni Grimani, with the support of the Municipality and funded through fines.

Monument

San Francesco Door

The Church of Santa Maria delle Consolazioni stands on the site where in ancient times there was a church dedicated to the Blessed Virgin of Consolations and a small hospital dedicated to Sant’Antonio Abate. The name “degli Zoccoli” refers to the footwear traditionally worn by Franciscan friars.
Until a few years ago, the Church housed a precious work by Giovanni Battista Cima da Conegliano, the painting Madonna with Child, created in 1504 and currently preserved at the Museo Nazionale Atestino.
Currently owned by the Municipality, the building retains mostly its original structure and appearance. However, the serious conditions of disrepair and degradation that affect it have made a restoration and conservative redevelopment project indispensable.
The design intervention takes up the guidelines of a previous restoration from 2004, providing for the restoration of the functionality of the roof covering, the verification of the state of conservation of the primary and secondary wooden framework, and the consequent consolidation operations. Further specific interventions include the consolidation of the foundations, the restoration of the wall lesions, the reinforcement of the vaults of the side nave and the restoration of the cornice of the main nave.

Santa Maria delle Consolazioni o degli Zoccoli

**The Bragadin Arch** is a splendid ornamental structure dating back to the late 17th century. Originally, it served as the entrance to the estate of the Bragadin family, a prominent patrician lineage from Venice. Today, it stands as a symbol of Este’s rich cultural heritage.

Information about this monument, which clearly reflects a 17th-century architectural style, is rather limited, as the area in which it is located was for a long time part of the *brolo* (orchard-garden) of the Albrizzi estate. It is still uncertain whether the main residence associated with the arch was the rather modest-looking building visible to the right at the entrance to the new district named after the Rubin de’ Cervin Albrizzi family.

The entire area, which holds great archaeological significance, has only been the subject of scientific investigation in relatively recent times. For nearly two centuries, it was subjected to looting and spoliation, and during the 20th century, it became an area marked by housing developments and urban expansion. It was only thanks to the intervention of the Archaeological Superintendence that some areas, previously designated for modern construction, were preserved, allowing for their recovery and enhancement—as can be seen today.

Bragadin Arch

Venetian Route

Romantic Route

Arriving in Este, the majestic dome of the Basilica of Santa Maria delle Grazie is undoubtedly the first element that attracts the visitor's attention, together with the towers of the Carrarese Castle. Symbol par excellence of the Euganean town, the basilica contains over five hundred years of history. The valiant leader Taddeo d'Este (1384-1448), son of Azzo X d'Este, in his first will of 1434, established an income for the church of San Francesco and a substantial donation to the Dominican Order for the construction of a convent and a church dedicated to the Holy Virgin Mary, inspired by the Abbey of Carceri. After Taddeo's death, the church project was started by the Republic of Venice, since his son died prematurely, thus preventing the fulfillment of his father's will. The church was consecrated in 1479, taking the title of Santa Maria delle Grazie in honor of the miraculous Byzantine panel that was placed there.
The original architectural structure remained intact for about two centuries, but over time the interior underwent changes in the decorations and sacred furnishings. In the seventeenth century, the apse was enlarged to ensure better visibility of the icon, and a new wooden choir in finely decorated solid walnut was built. Two side chapels were also added to the south wall of the nave. Despite these interventions, the church was still too small, so the Dominican Fathers decided to build a new church, which was completely rebuilt starting in 1717 (the bell tower and dome date back to the nineteenth century).
Today, the Basilica of Santa Maria delle Grazie houses six altars distributed in as many chapels. The ceiling, frescoed with angelic figures and floral motifs, is illuminated by stained glass windows, creating fascinating plays of light. Inside you can admire numerous paintings and sculptures of great value, including the Altarpiece of San Domenico by Antonio Zanchi, a wooden cross of the Angel with the scroll of Scripture and the polychrome marble altar of the Blessed Sacrament. However, the most significant work, from which the church takes its name, is the Icon of Santa Maria delle Grazie.
This panel of Cretan origin, brought from Constantinople and donated to the Dominicans, represents the Madonna and Child in Byzantine style, in the act of indicating the Son with her right hand, a symbol of guidance for the faithful. Also known as Odighitria (“She who shows the way”), the icon has been the object of centuries-old devotion by pilgrims, who venerated it asking for salvation from illnesses and natural disasters. Over the centuries, the image has been enriched with crowns and jewels donated by the faithful “for grace received”.

Basilica

Basilica di S. Maria delle Grazie

The Church of Santa Maria Addolorata is the parish church of the Pilastro district, located on the outskirts of Este, in the province and diocese of Padua. The religious building belongs to the vicariate of Este and has been an important spiritual point of reference for the local community for centuries.
**History**
The origins of Marian devotion in Pilastro date back at least to the beginning of the fifteenth century, when there was already a venerated image of the Madonna painted on a small column. In 1504, a small wooden church was built to house the icon. Next to the chapel, on the initiative of some Servite Fathers, a convent was built which was then suppressed in 1652.
After the closure of the convent, the small church became an autonomous curacy dependent on the parish of Este. It is not clear when the current church was built, but it is known that it was consecrated on August 1, 1784. Subsequently, on September 8, 1853, the building was elevated to a parish church, acquiring a central role for the neighborhood.
**Interior**
The icon of the Madonna and Child is kept in the church's presbytery, which has always been the object of deep veneration by the community. This fifteenth-century fresco, the work of an anonymous artist, is framed by an elegant eighteenth-century white stucco structure.
A miraculous event that occurred in June 1491 further increased the cult surrounding the image: some witnesses reported seeing the fresco, then placed in a capital, change color. The population interpreted the phenomenon as a sign of the Madonna's desire to have a church built in her honor in that very place.