The garden of the Villa is open to visitors, but the main building of the Villa is not, as it is reserved for various associations that operate in the social sector, such as a nursing home for the elderly. 

The side building, however, houses the Municipal Library.

The Historic Park represents one of the rare examples of a garden that has survived to our time, designed according to scenographic criteria capable of creating panoramic illusions of a particular effect. The so-called English garden, in this case designed by the famous set designer Francesco Bagnara.

Hours of the Historic Park

From May to September: WEDNESDAY - SATURDAY - SUNDAY continuously from 8:00 AM to 8:00 PM. Free entry.

Possibility of guided tours (049 9471066)

The large complex of the villa in Galliera Veneta, located in the immediate vicinity of the town center, is the result of a series of transformations carried out in different eras; however, the origins of the oldest nucleus date back to the 16th century. In 1518, Pietro Capello declared ownership of a manor house with agricultural annexes, a dove tower, a vegetable garden, and an orchard, which was expanded in the following century following the concession by the Republic of Venice to use the water from the Brenta River for the feeding of a canal. At the death of Andrea Capello in 1796, the estate must have been significantly larger, as the estimated inheritance cited not only a manor house but also a barn, a small chapel, stables, other buildings, and a garden with two fish ponds and a small lake. In 1821, the villa was purchased by the Comello family, who were responsible for the arrangement of the garden, which the renowned set designer Francesco Bagnara transformed into an English park, modifying the previous geometric organization of the Renaissance garden by introducing waterways, elevations, and the planting of rare tree species. When, in 1858, the residence and the surrounding lands were purchased by Anna Maria of Savoy, wife of Emperor Ferdinand I of Austria, the architectural structures and the park underwent a new intervention, which was handled by Francesco Bortolami. To the main facade, now facing the main road, a balcony, a pediment, and a small belvedere tower were added, and some renovation works also affected the lateral wings. The new owner, giving the villa its Imperial name, also wanted the construction of a chapel dedicated to the Immaculate Mary, even though the western barn already housed a private oratory. In the second half of the last century, the complex, purchased by INPS, underwent a decisive change in functional destination and was converted into a hospital, while the garden was partly stripped of its original appearance. Today, the exteriors appear to be in fair condition, unlike the interiors, which have been repeatedly transformed in their layout and finishes.

The complex was commissioned by the Piovene Family in the second half of the 17th century and features the classic structure of Venetian Villas. It has an internal courtyard surrounded by columns with barns and a chapel. Initially, the construction began along the current state road, but due to a flood of the Agno river that flows nearby, it was decided to build at the location where the villa stands today. From the Piovene family, the complex was inherited by the da Porto family and later by the da Schio family, the current owners.

The extensive historic park follows the traditional design of 18th-century parks. In front of the facade is a classic Italian garden characterized by boxwood hedges and lemon trees. Numerous are the statues from the "workshop of the Marinali"; in front of the villa is the "fish pond," a large stone swimming pool, the "peschiera," surrounded by statues with biblical and mythological subjects, fed by the water of the Poscola river, which was deliberately diverted to allow for the creation of the park. The garden features three large avenues of linden and hornbeam trees that enhance the perspective effects of the entire complex. At the end of each avenue, there are terraces from which the view extends over the adjacent meadow.
Today, the villa is both an exclusive venue for private events such as weddings, business meetings, parties, receptions, and a place to find hospitality.

The villa, dating back to the 18th century and built on a pre-existing structure, was originally a country house for Venetian families. In 1968 it was purchased by the sculptor Toni Benetton, who transformed it into a residence and exhibition space for his works.

The structure features a Venetian style, with simple architectural lines. The facades are sober, decorated only by a wrought iron balcony and a triangular pediment. Inside, the ground floor has tiled floors and a "Sansovinic" ceiling, with walls adorned with essential stucco decoration. A living room includes an elegant red Verona marble fireplace, with painted decorations depicting boats.

The upper floors have Venetian terrazzo flooring with stucco also found on the ceilings. The first-floor salon retains four stucco panels that once housed paintings from the school of Marco Ricci.

A long adjacent building houses various spaces: former cellars, a greenhouse, granaries, a restored "caretaker's house," a farrier's room, stables (with stone and wood troughs and wall paneling), and a second renovated residence. To the east extends the barchessa at double height, with offices on the ground floor and an attic area above the portico, decorated with bas-reliefs and a Robbiano medallion. The barchessa ends with a family chapel dedicated to St. Anna.

The villa is set in a park of about 20,000 square meters, with ancient trees, magnolias, a large Lebanon cedar, a central courtyard with a well, and hosts Toni Benetton's "Macrosculture," large works integrated into the landscape.

Currently, it houses:

• The Toni Benetton Museum, in the former cellars and greenhouse;

• The International Academy of Iron, in the former studio of the sculptor;

• The International Documentation Center on Iron and other metals, in spaces adjacent to the villa.

Situated on the Berici Hills, just outside Vicenza, the Villa is Giambattista Tiepolo’s last work in Italy. In 1757 Count Giustino Valmarana called the artist and his son Giandomenico to fresco it. The Villa still belongs to the Valmarana family and it includes two adjacent edifices with superb frescoes. In the Palazzina, upon the owner’s suggestion, Giambattista worked on great epic themes, such as Iphigenia in Aulis, Iliad, Furious Orland, Aeneid.

The Papadopoli Giol Castle includes: the Castle, the Historical Park, and the Ancient Cellars.
Villa Papadopoli Giol, known as the "Castle," is a palace in English neo-Gothic style, also known as Tudor style, built in the late 19th century by the Papadopoli Counts. The imposing structure of the building immediately catches the observer's eye, while the tall crenellated towers with bow windows, the chimneys masked by pinnacles, and the pointed arches give the impression of being in front of a true medieval castle.

The side of the Castle that faces Piazza Nicolò Papadopoli and the village church is not actually the most important facade (the main entrance indeed faces the park), but it is certainly equally charming. Between the building and the large entrance gate, under tall plane trees, stands the beautiful and large fountain made up of three tiers of basins. The largest, featuring four crouching lions oriented towards the cardinal points, collects the overflowing water which cascades down in jets and sprays from the two upper tiers, supported by a slender central column.

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.

 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.