The villa dates back to the early 18th century (with an original core from the 16th century) and represents a typical example of the style known as "rustic 700", which is distinguished by its sobriety and purity of lines from the lavish and ornate style of other major residences in the Veneto countryside. According to tradition, it was also built by an aristocratic family in the hinterland of the Republic of Venice as a summer residence. The villa has passed through various noble families: Counts Bonaguro, Counts Vanzo, Counts Caffo, Baron Sturm von Hirschfeld, and others, until, following the common fate of such properties, the lands associated with it were gradually sold and dispersed. In 1978, the residence and park were purchased by the current owners, who restored them with great care and named them "Gioiagrande" for their serene beauty.

Excellences of the villa: The villa is surrounded by a large agricultural estate, with a pleasant landscape and lush vegetation due to the soil's fertility and the abundance of waters derived from the Brenta River through an ancient and still effective canalization system. The extensive park, measuring 25,000 square meters, perhaps designed by the botanist Parolini, is maintained to a perfect standard: centuries-old plants, flowers, shrubs, watercourses, paths and walks, bridges and little bridges envelop and surround the villa, creating a pleasant and relaxing atmosphere.

Excellences of the context: Villa "Gioiagrande" is located in a particularly fortunate position as it is a short distance from well-known centers and cities such as: Bassano del Grappa, an ancient city and birthplace of the painters Da Ponte; Marostica, a walled city famous for its chess game; Castelfranco Veneto, the home of Giorgione; Cittadella, an ancient medieval village; Asolo, a beautiful village set in the hills of the Treviso region.

Villa Sagramoso Perez Pompei was built at the end of the 17th century at the behest of Giunio III, Count of Illasi, and was commissioned to the architect Pellesina, who also worked on parts of the Palace of Versailles, Villa Sigurtà, and the church of S. Nicolò in Verona.

Once the Pompei family extinguished, it was inherited by the cousins Perez and their descendants Sagramoso, who still reside there today. It is located about 200 meters from the center of the village.

It has the appearance of a city palace. It consists of a central body and two wings, long "barchesse", and stables.
The central body, with three floors, features a portico with five arches, alongside which is a double pair of rectangular openings with elegant stone frames. Along the noble floor, a series of windows surrounded by a simple linear stone frame are arranged. The two wings are set back from the main front. The left wing is the oldest part of the complex, dating back to 1615. At the first floor level, it presents a high Doric loggia. Inside, there are large salons, galleries, and rooms decorated with a cycle of 18th-century frescoes. Neoclassical decorations embellish the dining room and the living room on the ground floor.
 
In the large secular park, with an Italian garden spanning 60 hectares, there is a wide pathway 5 km long that starts from the villa and leads to the Scaliger Castle of Illasi. The vegetation appears partly spontaneous, partly pruned regularly. Along the path, one can glimpse a moat that was once a small lake, shaped like Lake Garda.

The eastern-style pavilion that once housed the greenhouses, adjacent to the Italian garden, has been recently transformed into a restaurant.

SAN PELAGIO CASTLE
The imposing crenellated tower was built in the 14th century at the behest of the Da Carrara family, lords of Padua. In 1752, the Counts Zaborra acquired the property, expanded the complex by creating the agricultural outbuildings, and modernized the main wing to adapt it as a noble residence. From here, on August 9, 1918, poet Gabriele d'Annunzio embarked on his insane Flight to Vienna, where he carried out his famous exploits. In the d'Annunzio rooms, everything has returned to how it was then. Other areas host a unique Museum in Europe that traces the fascinating history of flight with immersive multimedia islands that make the visit an emotional experience... here is the charm of this unparalleled Place!

FLIGHT MUSEUM
Inaugurated on September 20, 1980, it is developed in the two wings of San Pelagio Castle, the noble and the rustic. Through thematic sections, it retraces the main milestones in the evolution of the means that have led mankind to discover the sky and space. In the ancient granaries, cellars, and residential rooms of the Zaborra Family, stories of mythical flights, visionary scientists, balloons, airships, airplanes, seaplanes, and spacecraft are told.

D'ANNUNZIO ROOMS
In the summer of 1917, the Zaborra family signed a rental agreement with the Italian army for the establishment of an airfield and the occupation of part of the villa. The apartments on the first floor became the residence of Major Gabriele d'Annunzio. The Rooms, restored according to archival sources, are now open to visitors. They house mementos of the poet-soldier’s life and flight, along with the furnishings of the Zaborra family.

ROSE AND LABYRINTH PARK
A three-hectare park, included in the circuit of the Great Italian Gardens. In April, the wisteria blooms, and in May, the scent of a thousand roses: the Representative Garden between the two wings of the villa, the Secret Garden and its treasures, the Brolo, the Ice House, the Labyrinths, the avenue of century-old hornbeams, and the romantic pond,

It is assumed that the villa is from the early sixteenth century although over the centuries it was enriched with several interventions. In 1740 in addition to the manor house, there are mention of a garden, a vegetable garden and a "casino". It remained the property of the Cappello family until the Napoleonic era. In 1807 the complex was acquired by the public and merged with Villa Pisani.

In the meantime it becomes the residence of Eugene Beauharnais. Later the villa became the residence of Austrian officers and governors and the adjacent building was used as a barracks. The residential block has a rectangular plan and a traditional layout with a passing lounge. It is spread over three levels: a basement, two main floors and a mezzanine on the sides of the second level. At the back of the villa there is a boxwood garden and tall trees. At the bottom of the property there is a service building with arched spans and large Doric pilasters that mark the elevations.

Villa Pisani Bonetti, included in the UNESCO World Heritage List since 1996, was planned by Andrea Palladio in 1541, the date of his return from his first journey to Rome, and was built between 1544 and 1545. It is perhaps the most representative example of his early period and it marked the beginning of his collaboration with the Serene Republic of Venice.

The Villa was inspired by the ancient buildings of Rome, in particular the public baths; it reflected their monumentality and, in doing so, was a potent symbol of the new “fiefdoms” and the power of Venice on the mainland.

The location of the Villa on a river meant that there was easy access to Venice for the transport of people, materials and produce, and making it particularly convenient for the Pisani family when they came in the summer months.

The Villa is now in a perfect state of preservation thanks to the work of both the previous and the present owners; it may be visited all the year round by appointment.

The Barchessa, originally a rustic construction with large arched canopies for essentially agricultural use, which today, after a careful restoration and complete restoration, comes back to life, preserved and enhanced, in the 21st century, as a relais, event space and restaurant .

The Villa was built in 1764 by the architect Count Orazio Claudio Capra with contributions from Francesco Muttoni and Ottavio Bertotti Scamozzi.

Villa Capra Bassani is an example of a neoclassical villa clearly inspired by Palladian architecture.
The Villa features a wide staircase flanked by statues that leads to the Ionic portico. The garden is bordered by a fish pond on the bridge from which the entrance gate opens. Particularly beautiful are the statues of the pediment and the supports of the staircase.

The Hall is enriched at the top of the walls with monochromes depicting mythological scenes that represent Ovid's Metamorphoses and a lively fresco with Phaethon falling from the chariot struck by Zeus's thunderbolt.
Of particular interest are the altar and the palette of the domestic chapel located on the second floor. In the second half of the 1800s, Villa Capra was purchased by the Bassani family, who are responsible for the expansion of the rustic annexes and the barchessa.

The Villa is still today the private residence of the current owners, the Fortunato family, descendants of the Bassani.

In 1497, in Quinto, Giacomo Thiene, son of Marco, makes his will at the manor house and orders to be buried in the cemetery of S. Giorgio. Thus, there is already a villa and the lord resides there for long periods of the year. The presence of a lord in these lands is destined to strengthen more and more in the following centuries. From this moment on, the Thiene family will increasingly bind their name to the history of Venetian architecture and Palladio.

Excellences of the villa: "The drawings that follow are of the fabric of Count Ottavio Thiene in Quinto, his villa. It was begun by the happy memory of Count Marc'Antonio his father, and by Count Adriano his uncle: the site is very beautiful as it has, on one side, the Tesina, and on the other, a large branch of the said river.” Thus Andrea Palladio introduces the project of Villa Thiene in his treatise “The Four Books of Architecture.” However, it should be emphasized a fundamental aspect: the drawing included in the Treatise is the result of a radical theoretical reworking that came later. In fact, the first project for this villa is less complex but more attentive to the environmental context than that of 1570. The villa was built around 1545/46 for Marcantonio Thiene. On the ground floor, the council hall preserves the sixteenth-century fresco decoration by Giovanni De Mio from Schio. The villa, having passed from the Thiene family to the Valmarana family, has been a municipal seat since 1871. It has been UNESCO heritage since 1996.

Excellences of the context: -The Church of San Giorgio, which houses paintings from the Maganza school and a valuable baptismal font from the 1700s with the coat of arms of the Thiene family. -In contrada Valproto, in the 1200s, there was the ancient church of San Michele Arcangelo and on the ancient bell tower still visible, the stone coat of arms of the Thiene family. -The Church of Lanzè dates back to 1927 and is in neoclassical style, created by local architects. -In the location of Quintarello, we find Villa Tacchi-Fagan, notable for the vast park designed by architect Giorgio Massari (18th century). -Older is the villa De Tacchi Franco also known as "Cà Prigioni", whose structure incorporates a core that possibly dates back to the times of the lords of Lanzè. -Another testimony to the summer residences of the bourgeoisie, built between the Seventeenth and Eighteenth centuries, is the Uderzo villa, now Cavinato, and the Galvanin Rigon villa in Lanzè.

Villa Forni Cerato was built around 1565 by reworking an existing building, commissioned by Girolamo Forni, a wealthy timber merchant but without noble title, a more unique than rare case for Palladian villas. Forni had business relations with Andrea Palladio as a supplier of timber, and this is one of the reasons most critics attribute the design of this villa to Palladio himself; the villa's design is also included in "The Constructions and Designs of Andrea Palladio" by Ottavio Bertotti Scamozzi.
It is likely that the dry minimalism of the building reflected the bourgeois social status of its owner.
The building has been on the UNESCO World Heritage list since 1996.
The language of the Villa has generated doubts about its actual Palladian authorship, as well as the simple plan of the building. In reality, the Villa is the result of the restructuring of the pre-existing house and the perspective should be reversed, recognizing Palladio's intelligence in transforming constrained limitations into expressive opportunities.
At the time, the Villa had rich sculptural decoration, partly documented work by Alessandro Vittoria. The nearby farmhouses and the dovecote are in ruins. Villa Forni Cerato has always been the subject of study and historiographical analysis.