Expanded and partially transformed in the 19th century, it overlooks a terraced garden, enclosed by a small rustic building, connected to the main house by an arched portal. The chapel is now separated from the complex by the road. The thickness of some load-bearing walls and the very irregular shape of the outer wall to the north suggest the ancient presence of a pre-existing structure, possibly part of the fortified system mentioned in local chronicles.

The villa hosts tourist apartments and is open to visits by reservation.

The 19th-century  country villa of the Azzoni Avogadro family dominates from the top of a hill, surrounded by woods and cultivated fields.

Villa Emo is a Venetian villa built by architect Andrea Palladio (1508-1580) near Fanzolo, within the municipality of Vedelago.

The work, realised between 1556 and 1559, was commissioned by the Emo family of Venice, whose property it remained until 2004. Since 1996, the villa has been included in the UNESCO heritage list, together with the other Palladian villas scattered throughout the Veneto region.

The building consists of a central body, divided into three floors - a characteristic feature of Palladian villas - from which unravel two columned barchesse, the fulcrum of the farm, complemented by two dovecote towers.

The villa is positioned on two perpendicular lines, one formed by the villa itself, and one formed by the avenue, originally completely planted with poplars. The area was crossed by the ancient Via Postumia and the plot of fields followed the grid of the Roman centuriazione. The villa is oriented according to this ancient plot, as can be clearly seen from the entrances to the building, aligned in a long perspective.

The exteriors are essential, the architectural order chosen is Doric, the simplest, and the windows have no cornices. On entering the interior, however, one can see the rich decorations and numerous frescoes that the villa contains, attributed to the painter Battista Zelotti, companion and collaborator of Paolo Veronese.

As strange as it may seem, very little is known for certain about the villa: the date of construction is unknown, its architect is unknown, and the events surrounding it are vague. It was most likely commissioned by the Venetian patrician family of the Donà, who built it in the early decades of the 17th century, on the remains of a previous late 16th-century square-plan manor house.

In 1847, the Villa was acquired by the Jewish banking family Jacur from Padua. Internally, the layout is traditional with central halls, side rooms, and the staircase located to the east.

Only some parts of the frescoes in the ground floor hall remain visible. It is the hall located in the northeast that stands out as the most important room on the ground floor, perhaps of the entire Villa: a charming "sitting room" features frescoes of remarkable quality on mythological/religious themes, where putti rise to frame the windows and surround “mirrors” of marmorino—which originally were meant to host paintings, tapestries, or actual mirrors—giving the hall a scenic and sumptuous beauty.

The facade presents the classic modulation of Venetian villas with openings on three levels.

The traveler who in the eighteenth century faced the traditional Tour of Italy and, aboard the burchio went up the Brenta from Venice to Padua, could admire one of the jewels of the late Venetian Baroque: the complex of Villa Widmann Rezzonico Foscari.

Jewel among the jewels of the Brenta Riviera, Villa Widmann Rezzonico Foscari is characterized by its ancient statues, brilliant frescoes, created by Giuseppe Angeli and Gerolamo Mengozzi Colonna, Murano glass chandeliers and period furnishings. Its monumental park extends for over 16,000 square meters between avenues of hornbeams, ancient roses and a romantic lake with aquatic bald cypresses.

Built in the early eighteenth century by the will of the Serimanns, Venetian nobles of Persian origin, the Villa obtained its current shape only in the middle of the same century, when the Widmann family, after purchasing the property, modernized it adapting it to the French Rococo style. The central body thus became a welcoming home for parties and receptions. Currently the complex is owned by the Metropolitan City of Venice, formerly the Province of Venice.