The Italian Garden is the natural evolution of the Renaissance garden, where perfect harmony reigns.

It adheres to a concept in which the garden recreates cosmic order through the application of rhythm and harmony, proportion and balance, which are expressed in the use of strict geometry and the rigorous control of all parts and their relationship to the whole.

The characteristics that distinguish the Italian garden are the geometry of the paths and evergreen and/or flowering beds; pruning aimed at creating geometric designs with regular shapes; the presence of architectural elements skillfully harmonized with the greenery and the presence of statues and fountains.

Our garden, created in the first half of the twentieth century, with its central pathway axis and boxwood topiary parterres, certainly refers to the tradition of the so-called Italian garden, but at the same time, it is influenced by compositional methods already established especially across the Alps, with great interest in roses and in the "games" of colors of other flowers, as well as in a refined relationship between light and shadow, determined by the rose arches.

The Burovich garden, after years of neglect, was reborn (2001-2002) from a recomposition project commissioned by the municipal administration, designed by architect Paolo De Rocco and executed by Benedetta Piccolomini, a landscape architect and expert in historical roses.

Based on documentary elements such as old aerial photos, testimonies, and tangible surviving traces, the design and operational intents aimed to restore the original image of the garden, an outdoor projection of the living space of the small palace, which later became the municipal headquarters. It was the former residence of Vincenzo Burovich de Szmajevich, who settled in Sesto in one of the family farms, with his wife Santina of the noble Scaletaris.

The latter is probably the author of the garden.

The Burovich de Szmajevich, present on the Venetian mainland since the early eighteenth century, came from the Bay of Kotor, now Montenegro, specifically from the Dalmatian town of Perasto, a very loyal Venetian overseas base. For maritime and military merits, they acquired the title of counts from the Serenissima.

The garden layout reflects the taste of a refined private, manor garden from the era preceding the Second World War. It seems to present itself as a small painting in which to immerse and rest among scents and colors of times gone by.

The shape of the parterre in its entirety is still readable today. In fact, the design in the missing part is evoked by a differentiated paving in stone material.

The garden's hedge enclosure of hornbeam (Carpinus betulus) is replaced, for a stretch, by a wooden lattice "a gelosia", covered with roses, which separates the living parterre from the stone and pebble one.

Indeed, within the current perimeter of the green space, a reconstruction of the topiary layout was chosen, based on the original design, with new boxwood shrubs, reusing the old boxwoods uprooted for the reconstructive completion of the other parterre located to the south. Many species and varieties of flowers contribute to the image of the garden, which, here, for reasons of space, cannot be fully listed. The presence of irises, both among the "tall bearded" and the "crested", lilies such as Lilium candidum, known as St. Anthony's Lily, Hemerocallis, squills, daffodils, anemones, nigellas (Nigella damascena), lavenders, wild primroses, old small-fruited strawberry cultivars, violets, and a true "collection" of columbines is noted. These species are distributed in the garden according to their different light requirements.

In the shaded areas, we also find ferns, hellebores (Helleborus corsicus and Helleborus niger), acanthus, groups of lily of the valley (Convallaria majalis), and snowdrops. Regarding the shade garden, a flowerbed visible from via Roma is noteworthy, through the small gate topped by a small lunette with a fresco depicting a Madonna. Along an old wall grow hydrangeas, ferns, hellebores, and Japanese anemones.

Also present in the main garden space are some fruit and/or flowering shrubs. A Buddleia davidii fills with colorful swarms of butterflies that frequent its blue flowers. The image of the garden is also contributed by the wisterias (Wistaria sinensis) on the internal facade of the small palace, which are supported by the metal arches of the building body constituted by the old fogolàr.

However, the garden, which offers uncommon opportunities for chromatic and olfactory perceptions, is characterized mainly as a rose garden.

Some antique roses, saved through the recovery of the garden space, belong to the original layout and are still awaiting precise identification. In reconstructing the green space, it was deemed appropriate to also include some so-called modern roses, especially those called "rose inglesi" and attributed to the well-known hybridizer David Austin. These roses have similarities with historical ones in shape, fragrance, and soft colors, but they have the gift of repeat blooming. The intent was to extend, beyond May and June, the image of the rose in bloom in our garden. Alongside the saved roses and the modern roses just mentioned, significant presences are constituted by historical roses. For illustrative purposes, among the gallica roses present, there is a specimen of Cardinal de Richelieu, which has assumed a truly rare size for this type of rose. It is a variety originating from the Netherlands, already present in European gardens around the mid-1800s; famous and appreciated for its intense purple corolla, it offers a fragrance marked by lightness and delicacy. Also belonging to the gallica is a beautiful specimen of "Rosa complicata." It is, however, considered a hybrid of gallica with canina or with the very fragrant macrantha. Like others in our garden, it stands within a columnar metal support, modeled by tradition.

A historical rose of notable beauty, but little widespread, is Leda of the class of damask or damascene roses, as they used to say in Venice. It is also known by the name of Painted Damask. Already known in the 17th century, it features white flowers edged with crimson. The name refers to a well-known myth of Jupiter, who, transformed into a swan, repeatedly seduces Queen Leda while bathing; then from two eggs, the twins Castor and Pollux and the twin sisters Helen and Clytemnestra will be born.

Another beautiful damascena is Celsiana with semi-double, very fragrant flowers, large and open in a pink color that, with the sun, fades into ivory; the central stamens are golden. Spread in the European garden before 1750, according to some authors it was even known by the ancient Romans.

On the support aligned with the central path, characterized at the top by the silhouette of a north-pointing rooster, climbs a Rosa laevigata, also known by the synonym of Rosa camelia. It is classified among the botanical roses. It is a Chinese rose rediscovered, however, in the United States, where it would have "mysteriously" naturalized. More often, it is called Rosa Cherokee. It has shiny leaves and large ivory-white flowers with five petals.

In the garden, there are over forty varieties of roses, offering a curious discovery path for the novice, but also the competent pleasure of the enthusiast.