Villa Ferramosca, Sesso, Beggiato, Monti, Berti stands on the ancient foundations of a medieval castle in the Barbano area, nestled in the countryside of Vicenza. Historical and architectural studies confirm that, in 1565, the renowned jurist Girolamo Ferramosca commissioned the construction of the villa from architects Giandomenico and Vincenzo Scamozzi, father and son, both central figures in Venetian Renaissance architecture. The project is deeply rooted in the noble Palladian tradition, showcasing both monumental grandeur and refined compositional elegance—qualities that continue to captivate today. The villa enjoyed its golden age between the 16th and 17th centuries, during which time the Ferramosca family, a prominent house of the ancient Vicentine nobility, held the feudal estate of Barbano along with numerous other properties throughout the province. Celebrated for their refined tastes and high cultural standing, the Ferramosca were also granted the prestigious title of Venetian nobility in the 17th century. Through a shrewd policy of strategic marriages, the family allied themselves with other important local lineages, thereby further consolidating their wealth and influence. By the late 18th century, following the extinction of the Ferramosca family, the villa passed first to the Sesso family, then to the Antoni Zaccaria, and finally to its last noble residents, the Beggiato family. Today, after decades of neglect, the villa is experiencing a new season of renewal, thanks to an ambitious architectural and structural restoration. The project, passionately and meticulously led by the current owners, seeks to restore the villa to its original splendor. It also aims to enhance the entire estate, interpreting it as part of a broader cultural and social vision. The ultimate goal is to return this landmark to the community as a place of identity, capable of telling the story of the art, ingenuity, and traditions that shaped centuries of both rural and aristocratic life.

Contacts and Visits

Villa Ferramosca is open to visitors by appointment only, due to ongoing restoration work and in compliance with current safety regulations.

To book a visit: (+39) 349 3531847

Villa Pojana Miniscalchi-Erizzo-Bettero-Chiarelli was commissioned to the architect Andrea Palladio by the Vicentine Bonifacio Pojana, a member of a family closely tied to the Republic of San Marco. The project, conceived by Palladio in the late 1540s, was completed in 1563, although only one barchessa (outbuilding) from the original design was actually built. The villa was finished in the following century, when the descendants of Bonifacio Pojana had an additional building constructed on the right side, with window mouldings inspired by Palladio's façade design.

The main floor features a large rectangular hall, covered by a barrel vault, which dominates the entire space. Surrounding it are smaller rooms, each covered by different types of vaults, evoking the symbolism of ancient thermal structures and creating a sense of continuity with classical antiquity.

Since 1996, Villa Pojana has been included in the UNESCO World Heritage List, along with the other Palladian villas of Veneto, recognized for their outstanding historical and architectural value.

Excellences of the villa: Benedictine church of 1000 Frescoes del Falconetto (1400) Entrance portal (1501) Well and barchesse of 1500 The crenellated facades of the Villa (1500) The halls of the parties The monumental attic with 360° panoramic view Brolo, garden and courtyard

Excellences of the context: Ancient parish church of Pressana, Villa Grimani in Pressana, Villa Cainacqua in Caselle di Pressana, Archaeological Museum of Cologna Veneta, Walled City of Montagnana, Monastery of San Salvaro, Castle of Bevilacqua.

A masterpiece of the Venetian Renaissance, set in a large park, it houses frescoes by P.Veronese and G. Zelotti, inspired by Ovid's Metamorphoses.

OPEN every first Sunday of the month from 8 a.m. to 6 p.m. during the Mercatino
GUIDED TOURS: market day: 11:00 a.m.-3:00 p.m. or by appointment daily, minimum 4 people

Historical notes
The house on which the Roberti family built their palace was built on the ruins of the Macaruffo castle, of which the medieval tower, later used as a colombara, remains.
In the "Palace," the exteriors, loggia, hall, and entrance hall were frescoed by Zelotti, Fasolo, and Paolo Veronese, with depictions of mythological scenes from Ovid's Metamorphoses and with figures representing the Virtues and Giants.
In the recently discovered frescoes on the upper floor of the Villa, there is a curious interplay between the external landscape and the frescoed one.

The Park and the Forest
The Forest, recently restored, thanks to the help of the Municipality of Brugine, can now be visited. Inside there are botanical and dedicated paths for children.
The 1842 Guide to Padua and its Province, points out that the garden of Marquis Domenico de Lazara in Brugine "was among the first in our province to set the example of the gardens that are called English."
In reality, the actual English park must be dated to 1830, that is, when some of the most important Jappellian gardens, such as Treves de' Bonfili in Padua, Cittadella,Vigodarzere in Saonara, and Meneghini in Battaglia Terme, had already been designed and were being built. Much of the original compositional arrangement has disappeared, the extent of the park area and the brolo, in which the greenhouses and fishpond, covered by the hazel grove, still remain.
There are still scattered here and there among the greenery, relics of ancient brick artifacts, two statues of cherubs, and in the middleground area, the tombstone commissioned by Giuseppe Salom.
The special selection of roses, which can be found along the Villa Park and gardens, deserve attention.

The Villa and the Roberti family
Villa Roberti bears witness to the origins and splendor of the Venetian pictorial and architectural Renaissance.
The Roberti family was one of the most influential in Padua because of the prestige of its diplomatic appointments and the enormous wealth accumulated through its activity as bankers.

Around 1544, Canon Girolamo commissioned architect Andrea da Valle to build the monumental complex.
Andrea da Valle, a contemporary of Palladio and Falconetto, famous for his work on Santa Giustina in Prato della Valle and the Cathedral of Padua, finished the work in 1553. At the same time a group of painters from Verona - Zelotti, Fasolo and others - around 1550, was called in to fresco the exterior walls and interior halls of the Villa.

The Maccaruffo Castle Tower
The 14th-century tower along with the well in front of the barchessa are all that remains of the Maccaruffo Castle. Traces of frescoes with the Carraresi emblem are still visible on the tower. In later centuries the tower was used as a colombara, but thanks to recent restoration it has been restored to its original beauty,and is currently used as an apartment.

The barchessa
The barchessa dates back to the late 15th century. Inside there are two large Renaissance fireplaces, the portico cadenced by eight arches rests on columns softened by capitals with the Roberti coat of arms.

The frescoes of the Renaissance
The Fresco Paintings of the halls and exterior walls of the Villa are certainly among the earliest works executed by the Veronese group of artists.
The Roberti family, portrayed in the two scenes of life in the loggia, welcomes the visitor who, through the vestibule of the Grotesques and Landscapes (the Lagoon and the Euganean Hills) enters the sumptuous Salone del Piano Nobile, characterized by its Sansovinian-decorated ceiling. Zelotti, frescoed eight mythological scenes telling of the loves between gods and mortals. The figures of the Giants and Virtues in the superstructures and the episode of Venus and Adonis turn out to be interesting.
On the upper floor we find the Studiolo, decorated by the frescoes Amor sacro and Amor profano executed by Zelotti and Veronese artists.
The faux mesh tapestry, in imitation of a brocaded damask, gold and silver, that decorates the other rooms represents the first example of a series of replicas of the design module that Paolo Veronese would use in painted textiles in his own canvases beginning in 1552.
On the ground floor can be visited the ancient kitchen with the fireplace, and the floor still with the original slope, which was used to drain water, and the well room with the foundations of the medieval castle and cistern.

The complex stands on a pre-existing structure from the 14th century, likely a fortified tower-house, of which traces remain in the masonry, the crenellated fence, and the base of the dovecote in the southeast corner. The current layout developed in the 16th century when terraced houses were built to the west of the courtyard, suggesting a possible monastic presence connected to the Olivetans active in Sant’Elena since the 15th century.

In addition to the villa, the courtyard, the dovecote, and the brolo, the complex also included a fish pond and a brick barchessa from the late 16th century, characterized by a long series of semicircular arches on pillars and pilasters. The church, located between the main entrance and the service entrance, dates back to between the 17th and 18th centuries.

In 1857, the entire ensemble was reorganized by Achille Casanova, who transformed the brolo into a romantic park of about 8 hectares designed by Osvaldo Paoletti: it features nymphs, caves, a small shrine dedicated to Cavour, a mill, and a Swiss-style house for the gardener. During this period, greenhouses and a lemon house were added, connected to the dovecote.

The facade of the main body was reworked in a Renaissance style, preserving the Gothic portal, while the interiors were decorated with fake coats of arms, drapes, and zodiac motifs in the main hall and in the "Gallery of Fans."

Located in the historic center of Mel in Borgo Valbelluna, the Palazzo delle Contesse was built in the 17th century by Adriano del Zotto, a wealthy Venetian merchant. The name "delle Contesse" comes from Adriano's romantic life, as he first married Countess Elisabetta Papadopoli and then Countess Elisabetta Tiepolo, both belonging to the Venetian nobility.

In the 18th century, the palace was purchased by the Contarini family, one of the most important families in Venice. The Contarini family renovated the palace and decorated it with frescoes and antique furniture. In the 19th century, the palace was acquired by the De Marchi family, who used it as a private residence. It later passed to the Municipality of Mel.

The palace is an example of Venetian urban residential architecture, three stories high, with a stone facade and an inner courtyard. Inside, it houses a series of frescoes and decorations, including a fresco by the painter Antonio Bettio depicting the "Victory of Aurora over Night," located in the main hall of the palace, showing the goddess Aurora defeating the goddess Night.

Today, the Palazzo delle Contesse is a cultural center that hosts exhibitions, concerts, and other events. It is also home to the Civic Archaeological Museum of Borgo Valbelluna.

In the heart of the Venetian countryside stands an architectural masterpiece designed by Giuseppe Gualdo:  Villa Gualdo, Valmarana, Vendramin Calergi now Palazzo Comunale, an imposing residence, with a central body on four floors flanked by two symmetrical wings. The elegance and majesty of the building are enhanced by three scenic staircases and side entrances. Among the treasures it houses is the splendid sixteenth-century lavabo in the atrium, attributed to the workshop of Palladian masters Giovanni Di Giacomo da Porlezza and Girolamo Pittoni da Lumignano. In the noble hall, now the council chamber, five doors with a horizontal entablature frame stucco busts of Roman emperors, probably from the Neoclassical era. The villa also hosts works by U. Coromaldi and Luigi Tarra, gifts from Marquis Giuseppe Roi, and features a permanent exhibition dedicated to Antonio Fogazzaro. The architectural context is enriched by the Little Church of the Heroes (1832), with a painting by G. Busato, and the former convent of San Marco, now belonging to the diocese of Padua, where Fogazzaro wrote the story Pereat Rocus.

It is a beautiful and majestic palace dated 22 August 1492 and which was inhabited first by the Medici counts of Verona, later by the Grigolli family, until it was owned by the Bresciani family who donated it to the municipality to become the seat of a nursery school named after "Antonietta Grigolli Bresciani ".

The building, of considerable architectural interest, is supported by face constructions; the ground floor has various faces, the first floor instead has original terracotta floors and ceilings, partly painted with a sharp edge. Built by Luigi Bergamini in 1867, it has a large park and is located in front of the municipal building.