Italian architect. He trained at the University of Brescia, and returned to his native city to rebuild San Liberale, the cathedral of Castelfranco. A posthumous treatise on the Elements of Architecture was printed in Venice in 1780. He also designed a theater in Castelfranco.
Francesco Maria Preti designed a number of parochial churches nearby in Valla, Salvatronda, Caselle, and Tombolo.
In his design for Villa Pisani in Stra, Francesco Maria Preti was looking straight back to the Palladian villa all’antica, for instance, in his use of a central temple fa�ade. However, compared with Palladio’s villas, the sheer size of Villa Pisani was radically different. This difference in dimensions was due to the influence of palace architecture.This also applied to the addition, on the garden side, of a complete storey on the attic floor.
The photo shows the fa�ade.
In his design for Villa Pisani in Stra, Francesco Maria Preti was looking straight back to the Palladian villa all’antica, for instance, in his use of a central temple fa�ade. However, compared with Palladio’s villas, the sheer size of Villa Pisani was radically different. This difference in dimensions was due to the influence of palace architecture.This also applied to the addition, on the garden side, of a complete storey on the attic floor.
The picture shows the garden fa�ade and the park.
At the beginning of the sixteenth century, a hunting lodge was built in the marshland around Levada by the Marcello family, members of the Venetian nobility. Around 1550 this structure was replaced with the three-story villa that makes up the central corpus of the present-day complex. The side wings were added later. In the seventeenth century the villa changed ownership several times, finally in 1725 it passed into the hands of the Maruzzi, an extremely wealthy banking family of Greek origin. They were responsible for the construction of the new, Palladian-style fa�ade, designed by Francesco Maria Preti, which was superimposed over the original fa�ade and features a series of engaged Ionic columns that support a triangular tympanum surmounted by statues.
The ballroom on the second floor was frescoed by Giovanni Battista Crosato.
