The portico has a square floor plan and a sail vault supported by four exposed brick columns. Looking up at the intrados of the arches, the observer can spot intriguing remnants of paintings depicting vegetal themes.

It’s worth pausing for a moment in the garden to notice a large ivy bush concealing an external staircase that leads to the first floor of the house. The mind drifts back to an old family photograph showing Frabboni in this section of the garden.

The painter is posed in front of the bust of Anacleto Bonora, the historical owner of the entire complex. He is dressed in a dark suit with a bow tie, smoking a cigar, and surrounded by lush plants, including a wisteria that has climbed the staircase and intertwined with the ivy covering much of the house’s wall. In the image, the climbing plants nearly reach the shutters of the French doors on the southern side of the house, which had been temporarily removed for sanding and possibly painting. Returning to the garden, the initial surprise turns to awe when the observer’s gaze reaches the façade of the house and the adjoining portico. The wall is entirely decorated, though not with frescoes, but with only sinopie—preparatory sketches made with red earth on the second layer of plaster. These sinopie, rediscovered during recent restorations, depict illusionistic architectures animated by panoplies and mythological figures.
In the lower band, on a faux ashlar base, two niches frame scenes from the Twelve Labors of Hercules: Hercules e the Nemean Lion, Hercules and the Lernaean Hydra.. Nella fascia superiore, tra finte lesene, si collocano armi disposte a trofeo. Sul prospetto si apre la porta d’accesso principale della casa del Frabboni, collocata in posizione centrale e circondata da decorazioni incise nell’intonaco.

The Casa Frabboni garden extends around the house from the west to the south. Walking through it in this direction, you encounter dense vegetation followed by an open grassy area. Among the plants, a tall magnolia stands out. Hidden among the shrubs are artifacts and whimsical constructions crafted by Frabboni, who assembled statues and architectural elements from Anacleto Bonora’s garden.
A masonry oven is encrusted with anacondas, valves, a male head, and a fluted column. Two column bases lie on the ground alongside some entablature frames. A stone flowerbed is adorned with carved snake heads. The south façade of the building is also decorated with artifacts. A faun statue that once adorned a fountain is embedded in the wall closing the portico. Beside a door is a youthful head wearing a hat, along with a composition of terracotta tiles depicting sacred scenes and others featuring whimsical figures and knights.

The garden gate on this side provided access to the home of painter Natale Guido Frabboni and his wife Ivana Cesari. Observing the building from here, the two sections of the house become evident. The façade of the first section features a wide hallway under a sundial, a door, five windows, and several pigeonholes. Comparing this structure to a similar one to the south of the garden suggests this was originally the end of the building. The same dimensions and a similar hallway mark the end of the structure.
In the 19th century, these two rural buildings were part of the barchesse (barns) of the villa owned by the affluent Anacleto Bonora, still standing east of Frabboni’s garden. The façade of the second section, preceded by a wooden portico crafted by the artist and vertically divided into five parts by pilasters, features two arched French doors, a rectangular door, four rectangular windows, and five oval windows. Considering the northern portico, certain openings in the walls, and the sinopie, it’s reasonable to speculate that this part of the building served not as storage but as a pleasure space within the 19th-century garden.