Classic example of a Dominical Villa with a manor house, "Barchessa," and park, of prominent historical and artistic interest: listed in 1761, its current form dates back to the late seventeenth century. The Villa appears severe, softened by elegant triforas, with a gabled roof: having lost its exterior frescoes, it retains an entrance portal made of stone blocks. Mentioned in the late sixteenth century, in his will of 1681 Francesco Agazzi bequeaths it to his male children, who were responsible for the expansion to four floors and the construction of the Barchessa in 1691. Merchants from Bergamasco, the Agazzi family arrived in Venice in the late sixteenth century: the branch of S. Cassiano obtained Original Citizenship in 1593, allied itself with Pope Alexander VIII, and saw Marco Agazzi become Bishop of Ceneda in 1691. The branch of S. Severo acquired the Villa in the mid-seventeenth century, which they maintained until 1807; listed in the Austrian Land Registry of 1841 under the name of Co. Camillo Manfredini, their heir, it came into current ownership in the twentieth century.

Excellences of the villa: Villa Correr Agazzi is a significant example of the political, social, and economic history known as "Civiltà di Villa," promoted and realized by the Serenissima between the sixteenth and eighteenth centuries. The historical and cultural value of Villa Correr Agazzi lies in its preservation of its function as a place designed for the management of the agricultural activities of Venetian noble families following the Serenissima's expansion into the mainland, but also as a site for leisure and cultural enrichment. The Villa is surrounded by a large Ancient Park and embellished by a Barchessa on the left side of the building, two stories high, with exposed beams and cobblestone flooring. Recently, interesting internal decorations dating from the late seventeenth century to the first half of the nineteenth century have been unearthed within the Villa. Notable is the site of an ancient secret passage that led from the Villa to the riverbank of the Livenza, useful for accessing the landing stage but also a providential escape route.

Excellences of the context: Concordia Sagittaria, a Roman city; Remains of the Roman Consular Road Annia which connected Rome to Aquileia; Corbolone, the church of S. Marco with paintings from the sixteenth century; River landscape of the Livenza; riverbank path; Naturalistic trails in the floodplain woods of Bandiziol and Prassaccon; Wine-growing areas (Annone Veneto, Pramaggiore, Lison); wineries of the producers. Portogruaro, a medieval city. Medieval Abbey of Summaga, Caorle, a picturesque town with Venetian influences and a seaside resort.

The Palace of the Magnificent Community of Mel is an elegant building whose construction began in 1510 and is now the seat of the Municipality of Borgo Valbelluna.

Above the roof, a small turret is noticeable, probably painted by Giovanni da Mel or his brother Marco, in which the large clock that was originally located in the bell tower destroyed by lightning in 1756 was placed. The entrance consists of a spacious loggia with semicircular arches and cross vaults supported on the outside by columns with Ionic capitals.

One can observe the sculpted coat of arms of the Zorzi family, counts of Mel from 1422 to 1720, embedded to the right of the entrance door, and the grills of the prisons from which the condemned would hear the sentence being read in the loggia. The loggia was a large hall frescoed by Giovanni da Mel with solid wood stalls, unfortunately lost during a severe fire in 1633. Access to the first floor is via a wide stone staircase leading to the main hall of the Palace facing the square through an artistic pentafora.

It was frescoed by Marco da Mel in 1545, as can be read from the date placed above the trifora in the hall itself. The theme of the frescoes references some scenes from Ludovico Ariosto's Orlando Furioso. On the east-facing wall, opposite the entrance, the fourth canto is taken up and although the fresco is fragmentary, some characters such as the wizard Brunello tied to the tree, the hippogriff, and the castle of Atlante are evident, along with homes, fortified cities, and small horse-riding figures in the background. Above the entrance, the painter is inspired by the thirty-third canto with Astolfo on the hippogriff arriving in Ethiopia to help the king threatened by the harpies, and to the right is the palace with elegant loggias where the king and the court feast.

Majestic decorative bands follow on the wide walls.

On the wall looking towards the Prealps, the portraits of Lucrezia and Costantino Zorzi, counts of Zumelle, painted between the end of the 1500s and the beginning of the 1600s and attributed to Domenico Tintoretto, son of Jacopo, stand out.

On the top floor, the mechanism that regulated the original clock of the tower is visible. Finally, in the council chamber, two paintings by the Zumellese painter Luigi Cima can be admired.

Villa Contarini is located in Piazzola sul Brenta, a few kilometers from Padua and Vicenza, on the remains of an ancient castle built by the Dente family around the year 1000 AC. Acquired by the Carraresi, lords of Padua, it was inherited by a member of the Contarini family.

It is assumed that the initial project was by the architect Palladio.

Until the second half of the seventeenth century the Villa remained a rural residence. It was, in fact, Marco Contarini, Procurator of San Marco, who expanded the building making it similar to a palace and making it an extraordinary "theatrical place". After a long period of abandonment, the complex was purchased by the Camerini family who brought it back to its former glory, completing it according to the taste of nineteenth-century eclecticism. After this the Villa underwent a new period of abandonment until its purchase, in the middle of the last century, by the prof. G.E. Ghirardi and the subsequent transfer to the Foundation named after him.

Since 2005 the Villa has been owned by the Veneto Region, currently engaged in its valorisation. It periodically hosts concerts and cultural events as well as being an ideal place to host public and private conferences, meetings and receptions.

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!”

The vast eighteenth-century complex of Villa Balladoro stands in the heart of Povegliano Veronese, enveloped in a captivating historical atmosphere. The villa welcomes visitors with a spacious courtyard leading to the elegant central manor house, beyond which the evocative park unfolds.

The layout features an elegant horseshoe shape, and the façade of the residence - once belonging to the Balladoro family - rises three storeys high, culminating in a majestic gable that bears the family coat of arms, flanked by two refined ornamental vases. In the central section, the rusticated portal and the upper opening with its arched pediment draw the eye, while two side plaques commemorate the distinguished guests who once stayed in the villa.

Highlights of the villa: The interiors feature frescoes on the ground and first floors, as well as in the park’s exedra. The villa includes a 23,700-square-metre park with centuries-old trees, statues, and a fountain. Inside the villa are the Archaeological Museum and the Historical Library of Povegliano Veronese. Moreover, the municipal public library is located on the first floor.