The villa belonged to the noble Pantz Family, counts of probable Bohemian origins documented by the splendid coat of arms featuring an eagle. The current layout of the villa dates back to the 16th century, but the arrangement of an earlier, older construction cannot be ruled out. The main façade is characterized by a large porch that extends across the ground floor and the asymmetrically placed loggia above. The porch is vaulted and defined by columns with Ionic capitals in stone. The loggia on the first floor develops with six full-arch arcades with stone rings and keystone set on monolithic columns with bases resting on a stone cornice-sill. The refinement of the workmanship suggests cultured local craftsmen. The projecting roof beams, made of wood, rest on shaped brackets in local stone. The structure of the eastern portion of the building has been restored with part of the original lime plaster and corner decorations being recovered. In the main hall, characterized by the loggia, which is a clear reference to the Venetian entrance hall, and in the ground floor hall, two large bricked-up fireplaces have been restored. The philological restoration work has allowed the noble dwelling from the 1500s to be returned to its original appearance, which had been concealed by inappropriate interventions and lime repaints. The brolo (land associated with the villa, including outbuildings and a porch), completely enclosed by a stone wall featuring a now-rare entrance marked by a portal with stone jambs and architrave, is undergoing conservative restoration in its original design and rearrangement with appropriate pavements and vegetation.

Villa highlights: The complex of Villa Pantz, its walled brolo, the rare portal, and its outbuildings constitute an “island” within the small center of Lentiai. Still intact, near the square, it has not suffered the effects of the prevailing commercial-tertiary urbanization that besieges the center. The brolo is entirely enclosed by walls made of mixed stone of various sizes and lithological types, assembled with lime mortar. The resulting texture is enhanced by the coloration of the different lithological types. The top is protected by stone slab covers with joints that partly approach on drainage tiles. An entrance archway with stone jambs and frames enhances the entire complex.

Context highlights: The villa and its walled brolo urbanistically define an island adjacent to the main square of Lentiai, a residential center that developed in opposition to the ancient military role of the County of Cesana, adjacent to the bridge over the Piave River in a strategic position for defense and territorial control. Nearby is the Church of Santa Maria Assunta, a construction with a clear Renaissance layout erected at the end of the 1400s and enlarged in 1568. The elegant and majestic interior features three naves divided by airy arcades. In the compartments of the sumptuous wooden ceiling and in the altarpieces, stories of Mary painted by Cesare Vecellio and Palma the Younger can be found, commissioned between 1577 and 1579 by a rich and cultured patron, likely the Bishop of Ceneda, as a probable ex-voto for surviving the plague of 1576.

The villa is open for visits by appointment, as it is a private residence.

Villa Soranzo Chiminelli in Sant'Andrea di Castelfranco Veneto is a delightful building from the second half of the 16th century, entirely frescoed on the exterior and main floor by Benedetto Caliari, brother of Paolo Veronese, and his school.

The Villa was erected on an earlier 'domus', and its first owner was Francesco Soranzo, a Venetian nobleman, parish priest at S. Andrea beyond the Muson. During the Second World War, the Villa was occupied by the German armed forces, who used it as a military hospital, and after its liberation by the American allied command. It was in the latter year of the war that the entire property was purchased by Francesco Chiminelli, who began restoration work, restoring the frescoed walls still partially covered in lime. It is also to him that we owe the collection of objects that today make up the Museums of Peasant Art and Tanning.

The Villa consists of the basement floor used as vaulted cellars, a raised main floor entirely covered in frescoes, and the first floor once used as a granary. Due to its collected dimensions and decorative elements, it falls into the category of buildings for holidaying, hunting and literary pursuits typical of mainland architecture, of the 'villa civilisation' of wealthy Venetians.

The Villa houses the Museo Conciario, the Museo Agricolo and the Museo Contadino.

Abbot Farsetti called the architect Paolo Posi from Rome, who designed the majestic palace in Rococo style, adorning it with thirty-eight columns from the Temple of Concord in Rome.

The abbot also had a wonderful garden built, a botanical garden of considerable size and interest, citron orchards, greenhouses, groves, and a maze. On a small hill formed from the excavated material of an oval pond, he erected a small temple that depicted the Roman baths. He then constructed a large earthen embankment (also oval) that he surrounded with a row of yews shaped in an arch to evoke a Roman amphitheater. Nearby, he recreated the remains of the temples of Diana and Jupiter Thunderer.

From all this work, today only the main palace, the guesthouse, two citrus greenhouses, and the stables remain.

At the beginning of the Riviera Berica road, on a hill, Villa Capra Valmarana “La Rotonda” has been seducing travellers for centuries thanks to its lines and volumes. Palladio includes the factory in the part of the treatise dedicated to the city, thanks to its proximity to Vicenza.

The architect describes its situation as “advantagious and delicious as can be desir’d, being feated on a hillock of a most easie ascent at the foot of which runs the Bacchilione, a navigable river. On the other side, it is surrounded by several hills, which seem to form a great Theatre”.

Today the ascent to the villa from the river is cut off from the road by a wall, which interrupts the natural slope of the hill. The construction of the building started between 1566 and 1568, but came to a halt in 1571. At the death of the client, Canon Paul Almerico, the villa was taken over by Mario and Odorico Capra in 1591.

The Capra family completed the works around 1620. There are four identical façades with hexastyle ionic porticos around the central body. Palladio planned to cover the central hall with a semi-spherical dome, but it was Vincenzo Scamozzi who ultimately finished the work, thus changing the original design that led to a different structure. Inside, the semi-spherical ceiling is decorated with frescoes by Alessandro Maganza, whereas on the side walls are depicted Greek gods painted in the eighteenth century by the French painter Louis Dorigny

The Palazzo dei Patella is an imposing building constructed during the Renaissance, featuring a mixed Venetian-Ferrara architectural style. The majestic and well-proportioned building has two facades that are quite different from one another. The one facing the Adigetto canal has rather austere features emphasized by the rustication around the windows and the arched doors. The rear facade, more solemn, presents five full arches and a triforium in the center of the first floor, certainly of Venetian origin.

Excellences of the villa: The building has been home to the municipality of Villadose since 1923. On the ground floor, there is the museum of the "Roman Centuration," which houses about 400 artifacts collected from the great Roman centuration identified in the countryside between Adria and Rovigo.

The Archaeological Group of Villadose has set up, on behalf of the Municipality, "the Educational Archaeological Exhibition on the Roman Centuration," which only displays the artifacts collected from the aforementioned centuration and is hosted in the ancient residence of the Patella family, which has been the Town Hall since 1923. The Patella family settled in Rovigo and then in Villadose after Borso d'Este invested them with the fief of Villadose in 1470. The building can be dated between the late 1500s and early 1600s and shows influences from Ferrara. The municipal territory of Villadose is entirely occupied by the ancient agrarian layout, and within the grids of cardines and decumani, as many as 108 archaeological sites from the Roman era have been identified. The rooms on the noble floor are also worth visiting.

Excellences of the context: Villadose is located on the central connecting road exactly halfway between Rovigo and Adria, which are easily reachable. It is also crossed by the Adigetto river, and rural architecture villas are remembered that stretch around it from the district of Canale di Villadose to that of Cambio di Villadose. Not far from the center, we remember Villa Frassino, a villa that is now a venue for conventions and weddings, featuring the oldest Frassino excelsior plant in the Province of Rovigo.

From “Venetian Villas: The Province of Padua,” Marsilio 2001, edited by the Regional Institute for Venetian Villas:

On the area overlooking the valley, there also stands a dovecote tower, a transformation of a building certainly used for defensive monitoring, and not far away is Ca’ Morosini, built on the site of a monastic building. (...) the villa, the dovecote, the stable, and the farmer's dwelling, all located within the property, do not present a geometrically organized structure in the traditional “shape” of the Venetian villa, suggesting that originally Villa Ferrian was an ancient house-tower connected to the defensive system of the castles of Boccon (...) and Castelnuovo: the dating of the first structure can therefore be attributed to the 11th century. In “Euganean Hills – The Places of Rural Life,” Editoriale Programma 2009, with the sponsorship of the Regional Park of the Euganean Hills, architect Piera Treu highlights the location, solidity, and strength of the structure.

Excellences of the villa:The interest aroused by Villa Ferrian is certainly increased by the ensemble of buildings that enclose its courtyard: three buildings intended for residence, one once used for the shelter of animals, and the dovecote tower. A particular attraction is expressed by the historic well, once used not only by the residences that overlooked the courtyard but also by other residents of the hamlet. The water extraction mouths are singular: one, with the usual shape of a wellhead surmounted by the beam from which the pulley was suspended, the other, usable from the courtyard level, and another, usable from the lawn at the foot of the large retaining wall, consisting of a charming portal in stone and brick that pierces the well shaft. The view towards the towns of the Berici Hills is wide.

Excellences of the context:Villa Ferrian is located within the Regional Park of the Euganean Hills, which the European Community has classified as a Site of Community Interest and a Special Protection Area for fauna and flora. The natural excellence of the area is enhanced by the cycling ring of the Euganean Hills that winds at the foot of Zovon. The area was appreciated by many Venetian patrician families, as evidenced by the various sumptuous holiday residences they built starting from the 15th century until the decline of the Serenissima. In the municipality of VO', many other ancient villas can be found. Numerous wineries offer tastings of wines and other typical products made on-site.

The Valverde is a rural courtyard consisting of a group of buildings organized in a courtyard system and closely linked to agricultural production. The oldest part dates back to the early 16th century when the interests of the great Venetian merchant families began to shift towards the mainland, with the development of a new and important agrarian economy. The manor house, which is the oldest part of the courtyard and is still inhabited by the owners, retains its original beauty with large stone chimneys, painted coffered ceilings, and friezes from the school of J. Ligozzi.

The entire complex, including the homes of the lavorenti and the spaces for production activities, such as the tinazzara, the historic cellar, and the chapel, underwent an important restoration that began in the early 1960s and is still ongoing.

The courtyard, once occupied by a sunny brick yard, is now a garden rich in plants and fragrances.

The villa can be visited only by appointment at tel +39 045 526499.

The Villa Lattes complex is owned by the Municipality of Istrana, which acquired it from the Municipality of Treviso in 2004 along with the surrounding lands. In addition to the main building, there are two barns, a small chapel, other contemporary buildings, and a park adorned with two statues by Marinali and busts of the twelve Caesars.

The construction of Villa Lattes dates back to 1715, designed by architect Giorgio Massari, who later became its owner when the commissioner Paolo Tamagnino. After several subsequent changes of ownership, Villa Lattes passed to the Lattes family, to whom it owes its name and many renovations that returned it to its former glory. Bruno Lattes also placed his collection of artworks and family artifacts here, including a collection of carillons and automatons.

The building has two floors, with a central hall that spans the entire body of the building, to which a third floor is added, limited only to the central body, featuring a trifora opening in the hall and a pediment with two sloping wings adorned with late Baroque motifs. On either side of the building are the two barns, whose porticos are embellished with works, such as the fountain of the Putti and the collection of artifacts, including terracotta and stone fragments from the excavation works of the Canal Novo in Venice, incorporated with the renovations of 1938.

On the west side stands a beautiful small church still adorned with period furnishings and decorations, enriched by paintings by Amigoni (“The Immaculate” on the altar and “God the Father in Glory” on the ceiling) and bas-reliefs, including one attributed to Giovanni Bonazza depicting Paolo Tamagnino. The chapel has an octagonal plan with elongated sides.

The villa houses the Carillon Museum and a partnered Info Point tourist information center.