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.

The playwright Carlo Goldoni would write of the Baglioni family that they possessed a delightful rural villa called Mazzanzago “and perhaps there is no more pleasant and charming place”.

The property takes its present name from a Bergamo family who first chose this site for their summer retreat. The house then may well have been that built by Antonio Lombardo in 1663; when Antonio Lombardo died, the villa had passed to his brother Alvise, who had it completed (one can see what it looked like in a painting by Luca Carlevarijs). When the place became the property of the Baglioni family, the villa was transformed into an imposing palazzo, but still retained its role as the core of a farming estate.
The decoration of the piano nobile was one of the first fresco commissions undertaken by a very young Giambattista Tiepolo, one of the greatest painters in eighteenth-century Europe. Recounting the myth of Phaeton, the scenes he created marked the emergence of a new language in Venetian painting, which would remain dominant right up to the advent of Neoclassicism. Later in the eighteenth century, Antonio Zucchi decorated the ceilings in the ground-floor rooms: seven fresco tondi and a range of stucco work.

In Stra, not far from Venice and Padua, along the Brenta River, near Villa Pisani, stands the architectural complex of the 17th century called Villa Foscarini Rossi. According to aristocratic customs, the Foscarini family sent to call famous architects like Vincenzo Scamozzi, Francesco Contini, Giuseppe Jappelli, painters and decorators, such as Pietro Liberi and Domenico de Bruni, entrusted them with the task of creating and decorating a house that emphasized the importance of the family.

After a careful restoration, which has enhanced the pure architectural lines and the important frescoes, the entire complex of the Villa and Foresteria has been opened to the public, with the aim of making it alive as it had been conceived and wanted by the noble Foscarini.

The halls of the Villa have become a museum, while those of the Foresteria host conferences, meetings, receptions, concerts, exhibitions. In fact, the Villa houses the “Museum of footwear”, which collects the most representative models of the production of Rossimoda, which for years has been making the shoes of the most famous Italian, French and American designers.

Perched on the hill overlooking Este, Villa Cornaro Farsetti Benvenuti is a historic complex that combines Renaissance, 18th-century transformations, and romantic landscape, maintaining a strong connection with Euganean culture.

Its origins date back to the early 1500s, when Alvise Cornaro, a refined Venetian patron, envisioned a residence dedicated to art and beauty. This period saw the creation of the elegant triumphal arch attributed to Giovanni Maria Falconetto, which still marks the monumental entrance of the villa today.

In the 1700s, the property passed to the Farsetti family, who expanded and redefined the complex according to the taste of the time, maintaining its architectural balance and prestige. By the mid-1800s, under Adolfo Benvenuti, the villa entered a new phase: the large park was arranged, likely following a landscaping scheme linked to Giuseppe Jappelli, master of the Venetian romantic garden.

The result is a scenic park that extends to the hillside pine forest, rich in pathways, perspectives, and natural atmospheres. The complex also includes the villa, greenhouse, and stables, testimonies to the various historical phases and noble residential functions.

Today, Villa Cornaro Farsetti Benvenuti represents a place of great charm, where architecture, nature, and history intertwine in a narrative spanning five centuries, offering one of the most suggestive views of Este and the Euganean Hills.