Mirabello Castle

Pavia, Italy

The Mirabello Castle is located in Mirabello di Pavia in the area of the Parco Visconteo. The building today is only a wing of the original castle, which was the seat of the Captain of the Park, the authority administering the Parco Visconteo on behalf of the Visconti family.

Since the 12th century the area had been occupied by a Cistercians monastery. In 1325 the Fiamberti family of Pavia acquired goods and lands in the area and between 1325 and 1341 they built the original castle. In the sixties of the fourteenth century, Galeazzo II Visconti acquired the castle from the Fiamberti. The castle was completed by the Visconti family and incorporated in the Parco Visconteo.



Your name


Via Mirabello 165, Pavia, Italy
See all sites in Pavia


Founded: 1325
Category: Castles and fortifications in Italy

More Information



4/5 (based on Google user reviews)

User Reviews

Luca Tirnusciolo (2 months ago)
It is a castle dating back to the 14th - 15th century located in the locality of the same name in the municipality of Pavia, incorporated into other buildings. Restored by the Visconti and inserted in the large Visconti Park (which connected the Pavia castle to the Certosa di Pavia) as the residence of the "Captain of the Park", it underwent transformations in the Sforza period [2]. During the French occupation of the Duchy of Milan (1515-1521) the structure underwent a complete renovation, adding elements of French taste, such as the rectangular windows, profiled in stone or the large stone fireplaces of transalpine inspiration. The interiors were also re-frescoed (most of the frescoes are still hidden under several layers of plaster) [3]. The castle was at the center of the battle of Pavia on February 24, 1525. In 1857 it was heavily damaged, leaving only a wing that survived demolition intact. Built in brick, it was originally probably quadrangular in shape: of the original architecture there are two two-storey buildings and an interesting balcony supported by shaped mesole, which recall the similar balconies of the Castello Sforzesco, in the courtyard of the Rocchetta, and of the castle tower of Vigevano. Today it results in a state of semi-abandonment.
Paololitico (2 years ago)
The place would be beautiful and very interesting (Battle of Pavia) if it weren't for the site is badly kept. It seems to be in an abandoned parking lot ... If the municipality took care to keep this area at least cared for and maintained it would already be so much .. Wake up Italy, these are your treasures ..
Dina Shaibekova (2 years ago)
Meraviglioso posto!
Tommaso (2 years ago)
Non posso fare a meno che sponsorizzare il mio quartiere
VINELLO VINELLO (3 years ago)
Bel castello,ma troppo trascurato. Merita una bella ristrutturazione dall'esterno all'interno e una apertura al pubblico alle sale. Iniziativa di qualche anno fa del comune di sistemare andata persa....davvero un peccato
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.