The villa, restored in various phases until the early 20th century, falls within the Venetian architectural typology of the second half of the 17th century - early 18th century and features a symmetrically developed plan; attached to the oldest part of the building is a turret - colomara. The main building has only two floors.

Highlights of the villa: Villa Saccomani is part of the ring of Venetian Villas that surround the residential center of Sommacampagna. These villas are located on the last slopes of the morainic hills that characterize the area between Lake Garda and the plain. There is a fascinating brolo, a system of gardens, and a centuries-old avenue of cypress trees. Inside the villa, there are frescoes currently undergoing restoration.

Highlights of the context: Pieve di Sant'Andrea (5th century), Sanctuary of Madonna del Monte. The villas surrounding the residential center of Sommacampagna (Cà Zenobia, Villa Masi, Villa dalla Vecchia, Villa Venier, Villa Bocca Trezza, Villa Decima). In Custoza, there are also Villa Pignatti Morano and the Ossuary.

UNESCO World Heritage Site of the 16th century, the Villa di Maser is a inhabited house, a masterpiece by architect Andrea Palladio, and offers year-round visits to the most important fresco cycle by the painter Paolo Veronese.

Thanks to careful work made possible by funds from the European Community, the original residential layout at the center of its agricultural estate, sustained by gardens, orchards, and greenhouses, has recently been restored. Here, through meetings and guided tours, art, history, and innovation are shared, and discussions on nature and sustainability, past and future take place. Among all the Venetian Villas, only in Maser did the intellectual genius of Daniele and Marcantonio Barbaro, patrons of the Villa, meet the innovative vision of Andrea Palladio, the skill and freshness of Paolo Veronese's imagination, and the decorative elegance of Alessandro Vittoria. From the union of these minds, a place came to life that became an expression of the intense artistic and intellectual fervor that was Venice in the 16th century, constituting a milestone in the history of modern architecture.

Today, the cultural hub Villa di Maser shares its treasure of beauty and culture by reaching out to new generations and proposing moments of exchange and research in collaboration with universities, festive seasonal presentations of products from the surrounding lands, workshops for children and adults, readings, concerts, tastings, school visits, and many other initiatives.

Villa da Prato is a small 16th-century Venetian villa nestled in the greenery and tranquility in the center of Caldiero.

Its full name is Villa Da Prato-Fiorini, and it is a country manor house built between the late 15th and the early 16th centuries. On the north façade of the complex, which is the current entrance to the villa, traces of frescoes from the 16th century are preserved, although the most beautiful façade is the south one, characterized by a small loggia with three arches and columns made of Verona marble.

What stands out is the 17th-century brick dovecote, notable for having the cardinal points as its sides. This towers over a courtyard enclosed by two barchesse.

The arrangement of the internal rooms follows the classical models of 16th-century Venetian villas, with a central hall and rooms on the sides.

Today, the villa hosts not only weddings but also corporate and private events, which can be organized in the woods or in the garden.

The villa features motifs derived from the Venetian palaces of the second half of the 16th century, both in its tripartite plan and in its façades. The south façade opens onto the main entrance of the park, while the north façade symmetrically opens onto the courtyard and the countryside behind. In the 1781 cadastre, it is recorded as belonging to the Lin family, wealthy grocers of Bergamasque origin who were granted patrician status in 1686, having bought a palace at the Grand Canal from the Mazzoni in 1691 (now Palazzo Morolin adjacent to Palazzo Grassi). Notable are the Lin family's investments in mainland properties: agricultural lands, manorial houses, and villas. In the early 1800s, a financial collapse led many assets to be auctioned off. The villa came into the possession of Ing. Meduna, the Mattiazzi, the Trevisan, and the Bottacin families. It currently belongs to the Santon-Boer family, who have overseen its complete restoration and reside there.

Highlights of the villa: The central body of the villa, crowned by a tympanum and pinnacles, has remained unchanged while the barchesse, originally used as stables and barns, have been recovered and integrated as living spaces. The main façade is adorned with semi-columns of Tuscan order and a balustrade balcony in Istrian stone with a wide serliana. Small oval windows, typical in the 1600s, illuminate lowered attics on either side of the tympanum, which rises above the quadrant of the sundial with two short marble volutes. On the north façade, one can see the protruding chimney pipes between lateral windows and a large central arched window, reminiscent of the openings on the main façade, but without a balcony.

Inside, there is rich decoration of stucco and a cycle of frescoes in the Tiepolo style attributed to Zugno, featuring historical-symbolic subjects with the recurring icon of Dogaressa. The Venetian-style floors in the hall and other rooms are original. All the doors have Istrian stone frames and overdoors decorated with panels and 18th-century stucco. Many ceilings feature Sansovino beams with fragments of original pictorial motifs. The park in front of the villa is enclosed by a gate with columns and statues, a low wall, and a small ditch. Period furnishings.

Highlights of the context: Villa Lin is located on Via Ca' Lin, which intersects Via Castellana in the Trivignano area, a provincial connection between Venice and Castelfranco Veneto. It is the closest visitable Venetian villa to the city of Venice (15 km away). The context in which Villa Lin is situated has significant environmental and cultural interest, also due to its proximity to the cities of Treviso and Padua, as well as to the numerous Venetian villas along the Terraglio and the Riviera del Brenta. The area offers excellent food and wine tours, particularly known for its agricultural and wine production.

The Nani Mocenigo villa is one of the Renaissance villas that adorn the Polesine and is considered by Canda, a small center in the province of Rovigo, as the most magnificent among the various residences left by the Venetian lords of the 16th century.
The date of the beginning of construction is uncertain, but accredited documents place it around 1580.
The author is probably Scamozzi, an architect and student of Palladio, but some also believe it to be the work of Longhena.

It overlooks the Tartaro River and presents two facades—one from the 1500s to the north and one from the 1700s to the south; the interior, heavily damaged by a fire in 1946, features various frescoes concentrated in the staircase and in the two front rooms of the main floor.
In Canda, it is said that Villa Nani Mocenigo is linked to the legend of the “Sad Countess” who probably still wanders, as a ghost, through the sumptuous rooms of the residence.
The story dates back to the 1600s when a Countess Nani residing in Venice was left by her beloved.
Desperate, she fell into such sadness that she was thought to have gone mad. Her brother Giovanni ordered her to retreat with her Spanish lady-in-waiting to Canda to find peace and serenity. Months passed, but her grief did not subside. One beautiful day, as if by magic, she became cheerful again and began to organize parties and receive guests. One day the two women left the residence to go to the blacksmith, and someone heard them ordering "rasuri" (razors).
At the receptions, the countess, beautiful and gracious, won the hearts of many men and generously reciprocated, but after a night of love, the unfortunate lover would disappear. It soon began to be said that the countess threw her lovers into the well of razors and that the poor souls ended up in the nearby Canal Bianco filleted like fish. Was it revenge, a pathology, or uncontrollable pain? Who knows, it has never been known, nor will it ever be known. One thing is certain: one fine day, both the countess and her lady-in-waiting disappeared.
Probably a more cunning lover discovered the clumsy game and took revenge according to the saying: “MORS TUA VITA MEA!”

Villa Carlotti

Built in the 15th century as a country retreat for the lombard Vimercati family and enlarged in the second half of the 16th century, the house passed to the hands of the wealthy and well-known Carlotti family in 1601 thanks to an exchange between families. The villa was completed and embellished with a beautiful garden and statues in 1632. In 1635, the family received their royal title from the Grand Duke of Tuscany and they started to undertake major building works to renovate and expand the Villa. It was officialy recognised as a Palace due to its size and the number of cultivated fields around it. In 1920, Francesca of Canossa decided to give it to the local community, however we had to wait until 1937, when the Villa was finally bought by the town council of Caprino Veronese and since 1952 it houses the town council offices.

Museum

The ground floor of the elegant Palazzo Carlotti houses the city museum, which is the result of the wish of professors Solinas and Marangoni and their group of researchers, to have a permanent place to display local historical artifacts. These were collected over the years and range from prehistoric times to the present day. The museum includes a section with objects from WWI. The most remarkable room is the “Sala dei Sogni” with its grotesque frescoes, but the highlight of the collection is the 14th century “Compianto” (mourning sculpture) founded in the ancient church of Santo Sepolcro in Caprino.

Villa Draghi was built on a pre-existing 17th-century building as a private villa, demolished to construct the current complex in 1848, featuring the villa-castle style spread over two floors and a basement. Over time, it lost valuable decorative elements, fixtures, and statues due to neglect and the lack of care from the Municipality that was supposed to safeguard them.

The Park and the Villa are located on the slope of one of the hundred hills that characterize the Euganean Hills, 10 km from Padua and 40 km from Venice. The rustic annexes are found at the foot of Monte Alto and at the entrance gate of the Euganean Hills Regional Park.

Patches of woodland surround small clearings crossed by paths that offer a variety of perspective effects along the way: scenes with wide views alternate with brief glimpses that open and close among trees, meadows, and bushes with changing rapidity.

The Villa is situated at the top of a hill, from which one can enjoy a splendid view of the natural amphitheater of the plain dotted with inhabited areas, watercourses, thermal springs, and agricultural land. This view is made possible by the visual permeability of the area in front, which is currently free of buildings and visual barriers. Behind the Villa, the mountain continues its ascent, providing a backdrop.

The Villa Draghi complex is publicly owned by the Municipality of Montegrotto Terme, which acquired it from the Jesuits of Venice in 1972. The Jesuits had received it as a donation from Giovannina Draghi (the last private owner since 1962, after whom it is named).

Villa Mocenigo, Garzoni, Martini is a Venetian villa whose construction began in the mid-fifteenth century on behalf of Lazzaro Mocenigo.

The original nucleus, currently identifiable with the noble part, was a hunting lodge in typically Venetian style, consisting of a large central hall flanked by two smaller rooms, respectively to the east and west. From the west side, a grand staircase led to the upper floor, where the bedrooms were located.

The rooms intended for the servants and horses were located about 50 meters to the west, in a rustic building with a well that still exists. In the seventeenth century, the lodge was expanded, connecting the buildings and transforming into a "house for stabling."

In the mid-eighteenth century, the architect Francesco Maria Preti from Castelfranco Veneto intervened on the entire complex, rendering its structure homogeneous while preserving, in the façade, the stylistic differences of the three building bodies.

The current owners of the villa are descendants of the marriages between the Mocenigo and Garzoni families, and later between the Garzoni and Martini families, and it was also the setting for important political decisions of the Serenissima.

The interiors are largely covered in marmorino. A dining room is decorated with an original nineteenth-century pavilion fresco, depicting striped white and blue draperies, creating the illusion of an opening towards an external garden. Other rooms feature more modest friezes.

The villa overlooks a centuries-old park, characterized by a small wood, the last survivor of the forests that once covered the lands of Castello di Godego. To the north of the complex is the barchessa designed by F.M. Preti, with a portico supported by Tuscan columns, and the chapel of the Sacred Heart (formerly dedicated to Saint John), which features a curious false entrance facing the main road of the village.

The Barchessa of Villa Pola, also known as “il Barcon,” is a splendid complex designed by Giorgio Massari. It stands in a five-hectare countryside, enclosed by walls, partially crossed by a road that surrounds its perimeter and along which the current entrance is located: a gate flanked by two large windows with characteristic wrought iron bars.

By walking along a short avenue, one accesses the porch, characterized by majestic columns. The building is oriented from north to south and, once, at the end of the porch was a paved courtyard – known as the “selese” – used for spreading small quantities of wheat or corn to dry in the sun.

The Venetian villa, owned by the Pomini family, was transformed in the late 1990s, at the initiative of a group of entrepreneurs, into a brewery with an attached venue for serving. After thirteen years of operation, the brewery ceased its activities, but the brewery has continued to operate and is still active today.

Today, the Barchessa is in excellent condition. The brewery, equipped with one of the most advanced systems created by the historic company Velo, is running at full capacity and produces various types of beers.

Inside the villa, one can admire the wonderful fresco painted in 1789 by Giambattista Canal, located on the ceiling of the central staircase. The centuries-old mulberries enhance the large garden that borders the Barchessa.

The structure is located just a few kilometers from Castelfranco Veneto, from the Brion Tomb in San Vito di Altivole, and from the Sile Springs in Cavasagra di Vedelago.