Villa Dionisi was designed by the marquis Gabriele Dionisi in 1700.

It has a typical large English-style lawn with remains of statues and a cave leading to a “giassara” (an ice-house) adorned with caryatids. Considered the symbol of Cerea by lots of people, it is one of the most characteristic examples of the sumptuous eighteenth-century mansions. The villa houses the Museum of Applied Arts in Furniture.

The Loschis acquired the Biron estate in Monteviale in 1436 after a swap contract that the family made with the Benedictine monastery outside the walls of Vicenza of Ss. Felice and Fortunato. Antonio Nicolò Loschi ceded his properties in the vicinity of Angarano to the monastic community, receiving in return the Biron estate, along the waters of Dioma, around which the family's interests had long revolved.
Very little is still known about the subsequent events. It is known that by 1636 the villa was already a respected structure. It was Fabrizio Loschi's wife, the wealthy Elisabetta Poiana, who desired the construction of the small church dedicated to St. Francis, situated in an elevated position at the back of the villa.
The various expansion and redevelopment interventions of the complex, desired by the owners, were carried out over time based on designs and projects by Francesco Muttoni and Ottone Calderari.

Inside the villa, one can admire the numerous frescoes by the great Giambattista Tiepolo, commissioned by Niccolò Loschi to celebrate the public recognition of the title of counts obtained by the family in 1729 from the Republic of Venice.
The iconographic path is inspired by the cardinal virtues of humanity, which are represented by the artist in a simple manner, sometimes ironic, sometimes dramatic. The works belong to the period of Giambattista's early maturity and represent one of the most interesting pictorial cycles of Gian Battista Tiepolo, which opened a successful series of villas and palaces decorated by the artist in Vicenza and the surrounding area. 

The historical park surrounding the villa represents a favorable environment for rare species of spontaneous flora and majestic centenary trees, among which the swamp cypress, with its six meters in circumference at a meter and a half from the ground, is considered a national monumental tree. The park is also characterized by the exceptional fauna: just a few steps from the city, deer, badgers, and many other species practically absent from the surrounding plain find refuge, alongside particular birds such as the finch, the great tit, the great spotted woodpecker, and the jay, which require specific tree conditions for their stay and reproduction.

ENTRY

Full ticket (Salone + Park) € 12.00
Group ticket (Salone + Park) € 8.00
Reduced ticket (Salone + Park) € 6.00
Ticket "Shell Grotto and Church of St. Francis" € 5.00.

Reservations for guided tours can be made by contacting: visite@villazileri.com or by calling: +39 3515345013.

Villa Trissino Marzotto consists of: an upper villa, a lower villa, monumental late-Baroque entrances, a cedar house or lemon house, an octagonal fountain, and over one hundred statues that adorn the large park, from which one can enjoy the panorama of the Agno Valley and the surrounding countryside. The villa is closely linked to the events of the Trissino family, ancient feudal lords of the area. This villa lies on the hill of Trissino where, since ancient times, a fortress stood, and later, a castle that was the theater for years of the struggles between Guelphs and Ghibellines; after which, following the Renaissance fashion, it was transformed into a country villa (the so-called upper villa, as it is situated on the summit of the hill). The villa, expanded and renovated for the last time between 1718 and 1722 by the architect Francesco Muttoni and, after his death, by Girolamo Dal Pozzo, has come to the Trissino Baston family, owners of Palazzo Trissino, the current seat of the Municipality of Vicenza. Count Marcantonio Trissino Baston, in addition to commissioning the renovation works of the villa, had the imposing entrance to the garden built by Muttoni in 1693, and in 1717 the entrance to the upper villa. The architect also oversaw the arrangement of the gardens, from which there is a view of the Agno valley. Muttoni is also responsible for the construction of the stables, completed in 1722. Subsequently, Count Cristoforo Trissino commissioned Muttoni to build the lower villa, inaugurated in 1746 along with his son Ottavio, with whom, however, the line of Trissino Riale ended, allowing the Trissino Baston family to reunite the entire complex into a single property again. At the end of the eighteenth century and again in 1841, the lower villa was struck by lightning. After the first event, the building was restored, while after the second fire, Alessandro Trissino Baston had it renovated as a scenic ruin, according to the romantic fashion of the time. Count Alessandro and his brothers had no direct heirs, so the entire complex passed to their younger sister Francesca; however, their descendants, after a period of abandonment, sold the property to Giannino Marzotto in 1951.

At Mizzole, which in ancient times was part of the agricultural settlement of the Benedictine nuns of the convent of San Michele di Campagna, you can find Villa Arrighi.

The first architectural structure of the villa most probably dates back to the 15th century, but its elegant and imposing appearance was given to it towards the end of 1600.

Villa di Modolo is one of the 15 major villas in the province of Belluno and is included in the catalog of the one hundred Venetian villas by Antonio Canova.

A short distance from the center of Belluno, immersed in greenery, Villa Miari Fulcis is a true architectural gem that deserves a visit to be combined perhaps with a walk along the beautiful Modolo ring.

One arrives at a small square where the family chapel dedicated to San Lorenzo stands. Passing through the eighteenth-century gate, one enters the garden, meets the old stables, and finally the Villa di Modolo, a grand construction from the early 1800s designed by architect Andrea Miari.

The central body, decorated with Ionic and Corinthian semi-columns, extends into a wing to which another lower building is attached: the Barchessa, with a porch on the ground floor and cellars below where the date 1644 is still legible.

It was built in the eighteenth century, but the appearance you will see today is the result of changes made in the nineteenth century that affected both the villa and the old stables that flank it. Entering the halls on the first floor, admire the decorations and frescoes that embellish the walls. Unfortunately, these are only part of the entire decorative apparatus that was destroyed during the two world wars.                                                                                          Descending the large staircase, return outside, look for the coat of arms of the Miari family accompanied by the date 1806, and let your gaze wander over the beautiful garden  and the baroque railing beside the building, which encloses and protects this elegant villa.

The complex represents one of the major examples of villas perfectly integrated into the great tradition of the most significant Venetian models.