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.

Villa Sandi, a splendid building of Palladian style dating back to 1622, is located in the heart of the Prosecco area. Below the villa, centuries-old and evocative underground cellars extend, providing an ideal environment for the maturation and aging of wines. Here, the bottles of the Classic Method sparkling wine Opere Trevigiane are stored to mature, while the two barrel aging rooms host the casks for aging the grand reserves.

The villa and the cellars are open to the public for free guided tours. In Valdobbiadene, Villa Sandi welcomes visitors to its estate in the heart of the historic production area of Valdobbiadene Prosecco DOCG. Qualified staff guide visitors to discover the wines through tastings in the "Wine Shops," and the exploration of the territory and its products continues at "Locanda Sandi" in Valdobbiadene, featuring dishes of the traditional Venetian countryside and six charming rooms.

18th century Venetian villa in Bosco Buri near the village of San Michele Extra in Verona.

It is a monumental complex formed by the patronal house, the chapel, the cottages, the stables, the farmer's house, and the barchessa, surrounded by 300 hectares of countryside and an English garden largely planted with exotic trees that, from the banks of the river Adige, extends for about 25 hectares.

Meeting point of Bodies and Associations present in the territory of Verona (including the Bishopric of Verona, ACLI Verona, AGESCI, Banca Popolare Etica, Federazione Veronese del Volontariato and others).

The Villa, formerly Ca' Orsato and Villa Cittadella Vigodarzere, dates back at least to the early 16th century.

Elegant in its neoclassical geometries, it is believed to have originally belonged to the Da Fontaniva family, and only later to the Orsato family through marriage.

Property of Cittadella Vigodarzere since 1848, it was bequeathed by Fabrizio Orsato to Andrea C.V., after being surrounded by a magnificent English garden, attributed to G. Jappelli.

In the following centuries, it became a national meteorological observatory, a field hospital, a Nazi headquarters, and always a favored destination for illustrious figures in national politics and the arts. The current name derives from the union of Aurelia C.V. with Tommaso Gallarati Scotti that took place in 1918.

NATIONAL MONUMENT since 1925.

It features a perfectly preserved large English garden where one can find the typical stylistic elements of a romantic park; gentle slopes, winding paths, small streams, and an impressive tree frame that encloses a suggestive central water mirror. An essential scenic completion to the overall architecture of the place. Dating back to the second decade of the 1800s and attributed to G. Jappelli, it covers an area of about three hectares and presents a considerable variety of plant species, some of which are centuries old.

A funerary noble chapel in flamboyant neo-gothic style has been preserved, reconstructed in honor of Count Fabrizio Orsato between 1848 and 1850 according to a design by Pietro Selvatico Estense, a pupil of Jappelli.

Villa Gallarati Scotti is strategically located for reaching other interesting tourist destinations. Just 1 km away, you can visit the beautiful walled city of Cittadella, a fortified medieval town, beautifully restored. Slightly farther away, for art lovers, is Villa Contarini of Palladio in Piazzola sul Brenta, while nature lovers can enjoy the Onara Marsh. Finally, within about twenty minutes by car, you can reach Vicenza, Bassano del Grappa, and Castelfranco Veneto.

In the heart of the Valpolicella Classica, the cradle of important wines such as Amarone, stands Villa Novare, a monumental complex of significant relevance, situated in the center of a green basin bordered by wooded slopes and beautiful vineyards. The architectural structure was erected in the first half of the 18th century and consists of both the master villa with a consecrated chapel and a centuries-old park, as well as a winery that is still perfectly functional today.

Highlights of the villa: The interior has undergone many alterations over time, leaving only traces of 17th-century decorations or those more recent from the 18th and 19th centuries. The hall of the Graces, where the two coats of arms of the Mosconi family are visible, spans two floors of the villa, divided by a painted wooden balustrade that separates them into two overlapping horizontal bands: - in the lower part, the use of false ashlar dominates; - in the upper part, fantastic trompe l'oeil architectures can be found, which provide a perspective characterization to the whole. The four seasons and thus the passage of time (with a clear reference to the agricultural context in which it was and still is) represent the main theme of the fresco on the ceiling. By the end of the 18th century, naturalistic complexes also began to spread in Verona in harmony with the fashion of the time (the beginning of Romanticism), which favored the English garden (landscape-oriented, romantic, with exotic plants, avenues, secluded spots, and faux archaeological corners) over the Italian one, which was predominantly green and regular. Following this trend, brothers Giacomo and Guglielmo Mosconi arranged the lands behind the villa, giving them a dual purpose, as a garden and a forest, and built the pond with the little island at its center.

Highlights of the context: Verona, Valpolicella, and its historic residences.

Villa Pellegrini Cipolla is a gem of late Veronese Enlightenment that has hosted, throughout its history, notable figures: in the 18th century, during the Battle of Rivoli, Napoleon Bonaparte stayed here, and also the President of the Republic Luigi Einaudi often found rest in its rooms and garden during his visits to Verona. The noble Veronese family of Pellegrini has linked its name to Verona over the centuries, leaving the city with two of its greatest monuments – the extraordinary fresco depicting St. George and the Princess, commissioned to Pisanello for the decoration of the family chapel in Sant’Anastasia, and the equally important one of St. Bernardino, built from a design by Michele Sammicheli – has been based in Costermano with extensive landholdings since the 16th century.

The current palace was built starting in 1760 by the engineer Ignazio Pellegrini, brother of the client Leonardo. Very active in Tuscany, he designed for the family property in Castion a classical villa, but with Rococo reminiscences, distant from the Venetian taste, almost a sort of theatrical machine with statues and pinnacles that serves as a scenic backdrop to the garden divided into large terraces leading from the gate to the villa. The wrought-iron gate, elegantly crafted and supported by two pillars adorned with statues, frames the bright red of the villa's facade at the end of a long avenue, rhythmically accented by contrasting pilasters, which stands out clearly against the green backdrop of the hill and the large park behind in an effect of sober elegance.

Highlights of the villa: The spatial distribution inside is also remarkable, with a columned atrium and monumental marble staircase leading to the honor hall decorated with frescoes featuring expansive landscapes, mythological and pastoral scenes (notable is a fresco by Francesco Morone), perfectly attuned to the Arcadian atmosphere of the whole. Chinese-style decor, stucco frames, and silk tapestries adorn the rooms of the villa. There is also a considerable number of other rooms for various purposes and lounges, in a rational distribution that separates them from one another, preserving charming tapestries and Rococo-style decorations. Among the interiors, particular mention should be made of: the central hall. It is the main body of the villa, decorated with imposing frescoes on the two larger walls, enriched by statues of Hercules, Minerva, Mars, and Diana, completed by Spring in human form hovering over the large ceiling. The Chinese-style room. It is the most original room in the entire complex. The walls and ceiling are elegantly painted on plaster with bright colors; the scenes of leisure life in oriental costumes give the room its name and characterize the environment.

The two-colored terracotta elements of the original flooring add charm and refinement to the area. The White Room: It owes its name to the bright white plaster surfaces that make it exceptionally luminous. It combines masterful stuccoes of landscapes with colorful relief compositions. The villa and park are two bodies with a single soul. The layout of the garden, which connects the human-scaled square of the village of Castion to the Villa complex, resonates with European experiences of the 18th century, particularly Versailles: the well-kept hedges and ancient trees, the geometric arrangement of the various green areas ordered into symmetrical sectors, adorned with vases and statues, all create a highly effective scenic movement that diverges from the typical canons of Venetian taste of the time.

Highlights of the context: 2.5 km away: Golf Cà degli Ulivi: A charming golf course. 5 km away: San Zeno di Montagna, from which you can enjoy a splendid panorama of Lake Garda. 5 km away: Garda, a splendid town directly on the shores of Lake Garda.

The villa, located on the immediate outskirts of the municipality of Padua (in the Brentelle di sotto/Brusegana area), has undergone various building interventions and expansions over the centuries, the sequence of which cannot be reconstructed. Archive documents attest that the lands where the main building and rural annexes developed, probably starting from the 17th century, belonged to the Zambelli family branch known as S. Giacomo dell’Orio, one of the sixty-seven families registered in the Golden Book of the Venetian nobility. As Zambelli property, the villa with its characteristic circular garden and rustic annexes appears in the Gran Carta del Padovano by Rizzi-Zanoni from 1780. In 1816, the property passed to the Vicentine Folco family; it is referred to as Palazzo Folco by Andrea Gloria (Il territorio padovano illustrato, Padua 1862, I, p. 50).

The last heir of the Folco Zambelli family, Matilde, who was born in Brusegana, married a Dalla Baratta; from her, in 1935, the villa and its lands were passed to the current owners, who still reside there and with whom the final arrangement was made. The complex consists of a manor villa with a park and rustic dependencies centered around a courtyard; all of this faces south directly onto the Brentella canal, not far from its confluence with the Bacchiglione, rivers along which the transport of people and goods occurred until the early 1900s. The central block is three stories high, with an entrance door surrounded by Vicenza stone, surmounted by a balcony with columned balustrade. The ground floor, which is accessible, overlooks the park with a portico enclosed by glass and includes a study-library and the old laundry with a fireplace. Two staircases lead to the first floor, structured with a large central hall, from which four symmetrical rooms branch out; the floors are made of Venetian terrazzo; the walls and ceilings are decorated with stuccos, featuring predominantly floral designs.

Highlights of the villa: The villa, park, and rustic dependencies form an "island" within a context that was intensely urbanized in the 1950s and has become an integral part of the city of Padua, from which it is only a few kilometers distant. Although devoid of the surrounding countryside and lacking monumental features, the original layout of the Venetian villa is still perfectly legible in its essential elements, represented by the manor building, the park, and the productive sector (courtyard, stables, granary, animal shelters). Equally evident remains the privileged relationship with the waterway of the Brentella canal, the bank of which is directly accessible from the park. The park features a distinctive circular shape, with an axis marked by two large centuries-old magnolias, statues, and stone benches; at the center, there is a wrought iron well; the most significant element is the double hornbeam in a circle, a favored space for a shaded walk.

Highlights of the context: The villa is close to the center of Padua, which is accessible by public transport or by bicycle. Not far away are the thermal areas of Abano and Montegrotto, the Abbey of Praglia, and the Euganean Hills. The displayed contents have been provided by the owners of the facilities. The location of the villa on the map is provided through an external service and may be approximate.

Nestled in the millennia-old history of Brendola (VI), Villa Vescova – formerly known as Villa Veronese – stands on the edge of the ancient Roman Castrum, in one of the village’s oldest quarters. Once the residence of the Bishop Count, who oversaw the territory from the nearby fortress, the villa takes its name from the episcopal presence that lasted until the sixteenth century. Transferred to private ownership between the sixteenth and seventeenth centuries, the villa was restored in the 1940s by Ugo Veronese, who commissioned architect Dal Conte for the renovation. Neoclassical elements were added to the central structure, while the elegant double staircase and the arched passageway leading to the rear park – still home to centuries-old olive trees – were preserved. Following the death of Veronese’s wife, with no heirs, the villa was donated to the Diocese of Vicenza, which now entrusts its care to the Diakonia Onlus Association. Through the “Cultivating Hope” project, the villa continues to thrive as a place of memory, beauty, and renewal.