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Palazzina Marfisa d’Este
The Palazzina was built around 1559 by Francesco d’Este, son of Duke Alfonso I and Lucrezia Borgia.
OPENING HOURS 9.30–13.00 | 15.00–18.00 Tuesday to Sunday Closed on Mondays Last admission 30 minutes before closing
BOOKINGS For individual visitors and groups, booking is recommended and free of charge. N.B. From 2026, groups can also book outside the museum’s regular opening hours. The rate is set at €12 per person, with a minimum of twenty-five tickets, plus any additional organisational costs for the visit. In this case, bookings must be made at least 7 working days in advance.
Francis, who, as early as 1535 lived in Schifanoia, had a summer residence built where he could spend his leisure hours, thus reviving the tradition of court “delights.”
In fact, the plan of the Palazzina was centered on a large central hall that served as a passing hallway, which was overlooked by the side rooms and the tripartite loggia, open to the garden. The building, consisting of a single floor, was enriched by refined fresco decorations from the workshop of Sebastiano Filippi known as Bastianino, a leading figure in Ferrara painting in the second half of the 16th century. Finally the garden was embellished by the large loggia known as the “loggia of the orange trees,” used as a theater and, in winter, as a cedar house for sheltering the most delicate plants and citrus trees.
In 1578 the mansion was bequeathed to Marfisa, Francesco’s daughter, who inhabited it until his death in 1608, preserving it in its spaces and animating it even when Ferrara returned under papal rule in 1598. Upon his death, a phase of slow but continuous decline began, which was only halted in 1861 when the City Council purchased the building and began its restoration in 1909.
Coordinated by engineer Savonuzzi, the work was completed in 1938 with the inauguration of the museum itinerary designed by Nino Barbantini. Savonuzzi and Barbantini’s intervention was extremely respectful of the building’s structure, and the pictorial restoration of the vaults was conducted with the intention of not distorting the sense of the original decorations. The layout and furnishings also helped to recreate the atmosphere of a Renaissance stately home.