I1 Garda-Venice
Regione Veneto - The Land of Venice

The Preonda of Bardolino
The Preonda" an ancient table of pink stone, rough and ache worked, smoothed by the oldtimer sculptor.
Historical Site

Museo Territoriale del Lago di Garda
The items on display in this museum were in use until the early 1950s in fishing, farming, carpentry and the daily life of the local lake side Communities. / The items on display are the result of decades of diligent research by Luigi Bertamè, an expert on local history, who has dedicated his life to the ethographic study on his place of origin.
Historical Site

Porta San Zeno
Porta San Zeno was built in 1542 under the direction of Michele Sanmicheli  who was also the designer of Porta Nuova and Porta Palio examples of the Renaissance heritage of the city. / Probably due to economic reasons, this is a rather simple construction, with a limited use of stone combined with large painted parts made of bricks.  / It has a square plan, articulated on a wide central hall, with a side walkway and a space for the military guard. / The planning of the Gate was rather hurried and low cost, reproducing a design already used by Sanmicheli for Porta Zara, in Dalmazia. / For almost 35 years Porta San Zeno has hosted the “Bacanal del Gnoco”, the traditional Veronese Carnival. Thanks to restoration works, made by the “Bacanal”, many internal rooms were saved from negligence and atmospheric agents.
Historical Site

Giardini Piazza Bacanal
Park

Giardini Monsignor Ampelio Martinelli
Park

Bagno pubblico Piazza San Zeno
WC

Church of Saint Zeno
The Basilica of San Zeno is without any doubt one of the most beautiful and better preserved examples of Romanesque architecture in the whole of Northern Italy. / What strikes the visitor most is the warm colours of the façade, due to the alternated use of tufa stone and bricks. / The façade, ideally enclosed on the left by the tower of the early monastery (13th century) and on the right by the slender bell tower (12th century), is suggestive in its colors, harmonious in its perfect architectural linee, sober and graceful in its decoration: it shows the influence of Lombard-Emilian architecture in the Veneto. / The original nucleus of the complex has been identified in the church and convent that rose on the Roman and later an early Christian burial ground near the Via Gallica. The church and convent had been built on the spot where the Saint had been buried. / FAQ / Why is the Church of San Zeno well known?  / The church is known because besides being one of the four main churches, it is the church dedicated to the patron saint. Here you can admire the Pala del Mantegna and the bronze panels of the main portal. / Are there relics of the patron saint in the Church? / The relics of the patron saint of Verona were transferred to the Basilica during the solemn consecration which took place in 807. / Is the Church on one level? / The interior of the Basilica is divided into three levels: the parish church, the crypt and the presbyteral church. / Is the monument accessible to people with disabilities? / The church is partially accessible, in the areas of the cloister and in the lower area. / Is it possible to access to the monument with animals? / It is not possible to enter the monument with animals, except in cases of guide dogs with muzzle accompanying a disable guest.
Religious building

Parcheggio San Zeno
Parking

Chiesa di San Zeno in Oratorio (San Zenetto)
The church of San Zeno in Oratorio, also known as church of San Zenetto, is located near Castelvecchio. It's a small Romanesque church which was destroyed by an earthquake in 1117, rebuilt and made larger during the 14th century. / According to traditional sayings, it was built on the spot where the 4th century's Bishop and patron of Verona used to go fishing: still right on this spot is the stone on which the Saint used to sit. here are several famous archaeological evidences of the Roman age found in the area of San Zeno in Oratorio. / During the Scaligeri's age this area was gentrified by Cangrande and in 1336 San Zenetto was included among the parish churches of the town / Throughout the next centuries, the religious life of the community continued peacefully around this church, and thus the church of San Zeno in Oratorio was enriched by several works of art, although some damages were done by the river Adige's foods. / Unfortunately, like for many other churches in Verona, San Zenetto too was hit by the order of suppression during the French domination. Its territory became controlled by San Zeno Maggiore while the church was deprived of all the art works and furnishings. It remained closed from 1807 to 1816, when by the specific Bishop's will, it was reopened to be the rectory of San Zeno's parish. / After the traumatic period of despoliation, the church needed some considerable restoring, which the rectors took care with passion and deep commitment. Throughout the century, in order to give an overall better look to the church of San Zenetto, several paintings, sculptures and architectural pieces from demolished churches were recovered and placed here, thus depriving the church of its original look. / San Zenetto was again damaged during World War 2, but it was even worst in 1957 when the right hand side nave collapsed and important pieces of late middleage's frescos were destroyed. One of them depicted San Francesco. / Nevertheless, still nowadays inside the three-naves church there are traces of precious frescos: above the entrance portal there is a cross possibly of the 14th century. Among the other art works, remarkable is the polychrome statue of San Zeno, considered of the 14th century, which we can see inside a niche at the centre of the choir and which most likely is by the famous sculptor Rigino di Enrico.
Church

Castelvecchio Museum
An undisputed symbol of the Scaliger dynasty and one of the main attractions in Verona, Castelvecchio stands majestically in the heart of the city, reminding everyone, with its imposing presence and nobility, who the masters of the city were. / Built between 1354 and 1356, Castelvecchio is the most important military monument of the Della Scala lordship, a dynasty that ruled over Verona for one hundred twenty-five years, from 1262 to 1387. / The castle was originally named San Martino in Aquaro, a name possibly linked to its proximity to the Adigetto and a bridge that spanned the canal or the Adige, and it took on the current name of Castelvecchio only after the construction of the castles San Felice and San Pietro. / Today, Castelvecchio is the most important museum in the city, displaying significant collections of medieval, Renaissance, and modern art (up to the XVIII century), with twenty-nine rooms housing precious collections of Italian and foreign paintings, sculpture, archaeological finds, ancient weapons, miniatures, ceramics, goldsmith's works, and the ancient city bells. / The complex is divided into the Court of the Royal Palace, the Arms Court, the Keep, and the Bridge. / The building underwent significant restoration at the end of the 1950s, closely collaborating with the then-director Licisco Magagnato and architect Carlo Scarpa, becoming one of the most complete and well-preserved interventions, designed to embody the idea of a museum as a total work of art. Scarpa, with his innovative approach, created a museum path that harmoniously integrates the exhibited works with the historical architecture of the castle. / The Museum also boasts the prestigious Carlo Scarpa Archive, which recently launched its new website: the portal now allows for consultation of high-resolution graphic material, with the option to freely download a selection of drawings.
Monument

Gavi's Arch
On the right side of Castelvecchio, in a small green area overlooking the Adige river, stands this construction of the first century. d.C., of the Roman architect Lucio Vitruvio Cerdone. The author's signature on the monument, a very rare phenomenon in the classical age, is one of the aspects that made the arch famous. It was built to celebrate one of the most important families of Roman Verona, the Gavia Gens. / The arch was originally located on the Via Postumia, not far from the current Torre dell'Orologio di Castelvecchio (the original location is recognizable by the signaling, on the pavement, of the position of the base of the pillars). In the Middle Ages, the arch, between the Scaliger walls and the Tower, was used as a city gate. In the 16th century, buildings were built against it and some shops settled there. / In 1805, during the Napoleonic occupation, the French decided to demolish it, because they believed the arch to get in the way of trafficking (especially military). The stones of the monument were first moved to Piazza Cittadella, then they were transferred to the Arena. It was reassembled in 1932 with the original blocks. / In local white limestone, it has a four-sided structure, the two main ones facing the Postumia street. The arch is a single archway framed by Corinthian columns (whose bases are decorated with plant bas-reliefs) and a triangular tympanum; the internal ceiling is coffered and has a Medusa head. / In the niches on the main pediments there were statues representing some members of the Gavi family, with their inscriptions (now lost). Under the arch was a stretch of Roman road, in black basalt, which bears signs of the passage of wagons.

Palazzo Carli
Opposite Castelvecchio stands a historic palace, built at the behest of Marquis Giuseppe Della Torre and his wife Elena Carli, around the middle of the 18th century. In 1789 the palace was sold to Elena's brother, Alessandro, a historian and scholar, who later sold it to the Basilea brothers. / In 1839, during the Austrian occupation, the Palace was acquired by the royal state property that used it until 1851 as the seat of the Imperial Royal Senate of Lombardy-Venetia of the Supreme Court of Justice and later used as the seat of the Commander of the Austrian forces in Italy, the first of which was General Josef Radetzky. His wife, Countess Francesca Romana von Strassoldo-Gräfenberg, died at Palazzo Carli in 1854. / In 1858 Emperor Franz Joseph and his wife Elisabeth visited Verona and stayed in the palace. Later, on October 16th, 1866, at the end of the third War of Independence, the transfer of Verona to the municipality was signed in Hall of Stuccoes. / The structure of the building has an internal courtyard in which there is a beautiful fountain. The façade, divided into three registers, encloses rusticated arches with Doric pillars and a large central hall with a loggia. Inside you can admire frescoes by Giambettino Cignaroli, Domenico Pecchio and Marco Marcola.

Statue dedicated to Bruno Ruffo
Bruno Ruffo (Colognola ai Colli, 1920 – Verona, 2007) was an talian motorcyclist. His career began in 1937 and he won several sports competitions. He won the first racing world championship in 1949, in the 250cc class, and other two world competitions in 1950 and 1951. After two motorbike crashes he decided to resign from motorbike competitions and became a car driver for Alfa Romeo and Maserati. He abandoned racing in 1958. / The monument, made in bronze by Marco Da Ronco, was inaugurated on 4th December 2009. It represents a stylised human figure on a motorbike. / Source: guidebook "Le statue di Verona", project supervised by Luca Leone, published in August 2015 with the support of the town council of Verona. /

Teatro Filarmonico
The Filarmonico Theatre was  designed by the famous architect and scenographer from Bologna Francesco Bibiena. It opened on 6th January 1732 with “La Fida Ninfa” by Maffei and set to music by Antonio Vivaldi. / Destroyed by a fire in the night between 20th and 21st January 1749, it was rebuilt by the Emilian architect Giannantonio Paglia (former collaborator of Bibiena) who introduced some variations. The Theatre was reopened in 1754 during the Carnival with “Lucio Vero” by Metastasio and set to music by Davide Perez. / There was another new and very painful lost of the Theatre, due to a bombing on 23rd February 1945. Fortunately, as 200 years before, there were competent and determined men willing to concretely rebuild the Theatre, although there were evident difficulties and many technical, financial, administrative and organizational obstacles. / After the National Competition for the design of the new Filarmonico Theatre, held on 20th May 1947 (which was won by the architects Scalpelli, Sciascia and Ferrante) in 1956 the proposal of Vittorio Filippini from Verona was chosen: it was very close to the spirit of the old theatre of Bibiena though respecting the modern functional needs. The restoration, which began in 1961, lasted about 10 years. / The Theatre achieved its original destination (opera performances) in 1975 with “Falstaff ossia le tre Burle” by Antonio Salieri.
Theater

Lapidary Maffeiano Museum
The Maffeiano Lapidary Museum, founded in the mid-eighteenth century, is one of the oldest public museum institutions in Europe. Its name is linked to Marquis Scipione Maffei (1675-1755), an internationally renowned scholar from Verona who dedicated over thirty years to collecting hundreds of inscriptions, entrusting architect Alessandro Pompei with the construction of an adequate place for their exhibition and preservation. / The museum, originally called "Museum Veronense," was conceived as a public institution, ensuring the preservation of artifacts and avoiding the dispersion typical of private collections of the time. For more than a century, the Maffeiano was the quintessential museum of Verona, a must-see for travelers on the Grand Tour, including J.W. Goethe in 1786. / The current setup, curated by architect Arrigo Rudi and inaugurated in 1982, reflects only partially the original organization of Maffei due to structural changes that occurred in the twentieth century. Some materials, such as Etruscan cinerary urns transformed by Maffei into frames, are still arranged in their original placement, preserving the historical charm of the museum.
Museum

Borsari Gate
Located on the west side of Piazza Bra, the Liston, a word of Venetian origin, is the wide sidewalk that connects Corso Porta Nuova to Via Mazzini. Named for its large slabs of stone from Valpolicella, which contains some sea creatures dating back to the Jurassic period, this walking area is well known to the Veronese at weekends (in fact, it is said in the Veronese dialect: far do vasche sul liston) and makes up one of the most famous lounges in the city. / Populated with bars and restaurants that overlook it, you can also admire many splendid mansions including Palazzo Ottolini Vaccari, designed by Michelangelo Castellazzi and completed in 1814; Palazzo Honori, then Guastaverza, then Malfatti, designed by Michele Sanmicheli in the mid-sixteenth century and Palazzo Fracasso-Giafilippi, dating back to the fifteenth century, from which Giuseppe Garibaldi greeted the Veronese at the balcony on 8 March 1867.
Square

Borsari Gate
The Gates of Bra Square are the primary access point to the ancient city. Those arriving from Porta Nuova can enjoy, looking at the battlements, the panorama of the high mountains of Carega that rise in the distance. / The pentagonal tower dates back to the period of the Visconti reign, commissioned by Gian Galeazzo Visconti. It consists of two imposing round arches of Verona marble and a large clock, gifted to the city in 1871 by Count Antonio Nogarola. The complexity and functioning of the clock required numerous interventions, which were only resolved in 1879 thanks to Bortolo Montemezzi, a watchmaker of Vigasio (VR). / To best admire Piazza Bra and discover the walkways and battlements of this door up close, we recommend a visit to the upper floor of the Museo Lapidario Maffeiano, whose entrance is immediately to the left of the gates.

Bagno pubblico Piazza Bra
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Palazzo Honorij Guastaverza
Palace Honorij-Guastaversa is a majestic building that overlooks Piazza Bra and is part of the so-called "Liston". / Completed in 1555, it was designed by the well-known Veronese architect Michele Sanmicheli, commissioned by Bonaventura degli Honorij. The project, as it was realised, foresees a portico with drafts and heads in the keystones composed of five imposing rusticated arches that recall the massive arches of the Arena, completed only after Sanmicheli's death. The façade is an example of classical perspective, with airy windows and balconies. / The palace was the official residence of many historical Veronese families, including the Sparavieri counts (at the end of the 16th century), the Allegri counts (from 1666 to 1701) and finally the Guastaverza counts (from 1701). After the death of Silvia Curtoni Verza (in 1835), the building passed to her direct nephew Orazio. / Since the beginning of the 20th century the building has been used as a restaurant, and in 2003 the facade underwent a major restoration.
Castle

Gran Guardia Palace
Conceived to allow the troops to go indoors, even during bad weather; started in 1610 by Domenico Curtoni (relative and disciple of Michele Sanmicheli), the work was suspended due to lack of funds and was completed around the middle of the 19th century by Giuseppe Barbieri. / The lower floor is rusticated (many stones come from the Arena) and has a portico with thirteen arches; on the main floor there are some large windows, separated by twin columns, with alternating triangular and curvilinear frontispieces; it is currently used as a conference and exhibition centre. / FAQ / In what period was the building built? / Construction work began in 1609 and was completed in 1853. / Who designs the building? / The building was designed by Domenico Curtoni, nephew of Michele Sanmicheli's architect. / What is the function of the building today? / The palace today hosts exhibitions, congresses and events. / Is the monument accessible to people with disabilities? / The palace is completely accessible. / Is it possible to access to the monument with animals? / It is not possible to enter the monument with animals, except in cases of guide dogs with muzzle accompanying a disable guest and dogs that are accompanying guests with specific certification.
Castle

Palazzo Barbieri
Located on the east side of Piazza Bra, next to the Arena, it is also called "Palazzo del Comune", as it has been the town hall since 1874. / It was built in 1838, designed by the architect and engineer Barbieri, with the function of Austrian military barracks (the original name is, in fact, "Gran Guardia Nuova"). It is a building of remarkable dimensions, in neoclassical style, which recalls in its shapes a Roman temple: in fact it has a Corinthian colonnade and pronaos and a large triangular pediment. / The Sala Arazzi, which contains two great masterpieces of the end of the sixteenth century, stands out in particular: "La vittoria dei Veronesi a Vaccaldo su Federico Barbarossa", by Paolo Farinati, and "Cena in casa Levi" or "Cena in casa del Fariseo", by the workshop of Paolo Caliari, known as the Veronese, and recently attributed by critics to Benedetto and Carletto Caliari and the Sala del Consiglio, with the illustration of the painting "Vittoria dei Veronesi sui Benacesi" by Felice Riccio, known as Brusasorzi and with the fresco "Cristo crocifisso tra la Madonna e San Giovanni" by an unknown author. / Sala degli Arazzi, located on the main floor of Palazzo Barbieri, can also host wedding ceremonies. The reservation made refers exclusively to the room chosen for the indicated time. The access route to the hall is defined due to the concomitance of events and manifestations and may be subject to changes even at the last moment.

Auditorium al Palazzo della Gran Guardia
Cinema

Piazza Bra
This square gives a magnificent glance on the history of the city: it is the foyer of the Arena on occasion of the opera, which draws thousand of spectators. It is the place where the people from Verona like strolling for more than two centuries – along the Liston: between 1770 and 1782 it was paved with red marble from Valpolicella, the same used to build the Roman Amphitheatre. / It is the place where people meet to talk about daily events or to drink a coffee or a cocktail in one of the numerous bars, which are open even in winter. / The Liston gives evidence of the vitality of the city and represents the frame of the many events which take place in Piazza Brà or in the Arena. It was made even more spectacular by the new iron structures which support the colourful marquee tents. They were designed by the master Franco Zeffirelli and planned by the architect Gualtiero Rizzi. The Palazzo della Gran Guardia hosts important cultural events, while Palazzo Barbieri is the seat of Verona Town Hall. / An old clock, which was donated by the count Antonio Nogarola and set between the two arches of the XIVth century Portoni della Brà, indicates the time to the strollers. / About in the mid of the XIIth century the market of wood, hay and cattle was held in the wide empty space around the Arena. This event became permanent between the XVIIIth and XIXth centuries. In 1897 the square hosted the most important horse Fair of the North-East. Nowadays it is one of the most important in Europe. / Ancient documents refer to Piazza Brà as “foro boario”: this tradition survives thanks to the fair of Santa Lucia which takes place here every year. The place then was urbanized: different activities began and buildings were built between the XVIth and the XVIIIth centuries. / In 1873 the central part of the square was transformed into a garden. / FAQ / Is the square well served by public transport?  / On the square many urban and suburban bus lines transit and stop. / Is it allowed to bath in the fountain? / It is absolutely forbidden to bath in the fountain. / Is fountain water drinkable?  / The water is absolutely drinkable. / Is the monument accessible to people with disabilities? / The square is completely accessible. / Is it possible to access to the monument with animals? / It is possible to transit in accordance with the specific current rules.

Arena di Verona
L'Arena di Verona è un anfiteatro romano situato nel centro storico di Verona.
Art

Fountain of Alps
The Fountain of the Alps is the fountain located in the center of Piazza Bra and symbolizes the close union between the cities of Verona and Munich. Donated to the city in 1975 by the German city on the occasion of the twinning between the two cities, a copy of the Statue of Juliet, which currently resides inside the Town Hall, was sent in exchange. / With its particular shape, it is jokingly called by the Veronese "lemon squeezer", because its shape reminds a citrus squeezer. / Another sign of the twinning between the two cities is next to the fountain, where a memorial plaque is erected in memory of Italian deportees to German concentration camps.
Well

Arena Amphitheatre
Among the major Roman recreational architectures, the Arena is the ancient amphitheater with the best degree of preservation in the world, as well as the most famous monument in Verona, an undisputed symbol of the Scaliger city. / The building, constructed by the Romans around the mid 1st century AD, once hosted various types of performances, from gladiator fights to hunts of wild and exotic animals. Its elliptical shape is designed precisely to accommodate a large number of spectators (about 30,000) and to provide enough space for the games. The Arena was built outside the walls of the Roman city to facilitate the influx of spectators and avoid overcrowding in the urban center. / The Exterior / Of the outer ring of the Arena, which constituted its facade, only a short section, the so-called Ala, has been preserved. Under the reign of Theodoric (493-526 AD), the outer ring was partially demolished for the construction of the city's second wall, and until the Renaissance, the Arena was used as a stone quarry. In the facade, built with carved limestone blocks from Valpolicella, only one architectural order is used, the Tuscan. / The Interior / The interior part of the building consists of two main parts: at the center the arena, where the performances took place, and around it the tiered seating area for the public. In ancient times, the arena was separated from the seats by means of a podium, above which there were probably nets designed to ensure the safety of the spectators. The cavea, now with reconstructed steps, was divided into horizontal sectors by means of walkways and featured a covered portico with a roof at the top. / The Amphitheater after the Roman Era / From the medieval period onwards, the external arches were rented out by the municipality: until the 16th century, prostitutes were relegated there, while in later periods, artisan shops found a place there. The internal space was over time designated for various uses, such as the administration of justice, parties, shows, and races. / The year 1913 saw the first performance of an opera within the Arena: it was the Aida by Giuseppe Verdi, and from then on this monument became the venue and symbol of the Verona summer opera season, a festival famous all over the world. / This imposing amphitheater, by size, is one of the most prestigious and important examples of Roman architecture and engineering. Built from Valpolicella limestone, today the only remaining part of the original outer ring is the so-called “Ala,” characterized by three-order arches, above which are preserved numerical indications that favored the orderly entrance of spectators. The amphitheater has continued to host performances and events over the centuries, and it is still famous worldwide for the Verona Opera Festival.
Monument

Monument of the Fallen for Freedom
The statue represents a partisan. / It was made by Mario Salazzari (1904-1993), sculptor, musician, poet and partisan from Verona. The statue was erected in 1946 to commemorate the first anniversary of Liberation on 25th April. Some critics have compared Salazzari’s statue with Michelangelo’s David, that was also an important iconographic model during the Fascism. The statue is well preserved and it is well valued thanks to its favourable location. / Source: guidebook "Le statue di Verona", project supervised by Luca Leone, published in August 2015 with the support of the town council of Verona. /
Monument

House of Romeo
Romeo's house is one of Shakespeare's places of Verona. / Eventhough historians say that this was the home of Cagnolo Nogarola, the massive builduing is known as the house of Romeo. / It is believed that the Montecchi family, which really existed, lived in this borough of Verona, thus this place has been designated to pass on the fascination of Shakespeare's tragic play. / The building which stands near the Arche Scaligere, is a tipical middle age house and it is extremely well preserved. The building cannot be visited inside because it is now a private property and  is occupied.  The beautiful gothic facade of the 14th century well recalls the romantic William Shakespeare's love story. / On the facade you read an inscription in memory of the two young lovers: "Oh Dov'è Romeo?... Taci, ho perduto me stesso: io non sono quì e non son Romeo, Romeo è altrove" (Act 1, scene 1). " Tut, I have lost myself, I am not here: This is not Romeo, he’s some other where."

Juliet's House and Museum
Juliet's House, located at via Cappello 23, is a medieval tower house documented since 1351. This place is associated with the story of Romeo and Juliet, birthed from the pen of Luigi da Porto in 1531 and immortalized by William Shakespeare in 1596. The structure originally housed an inn and was identified as the house of the Capulets in the 18th century, becoming a destination for romantic pilgrimage. / Acquired by the Municipality of Verona in 1905, Juliet's House was restored between 1939 and 1940 under the direction of Antonio Avena, who added the famous balcony. In the courtyard, the statue of Juliet created by Nereo Costantini in 1972 was later placed. / Inside, the House hosts paintings, including the work of Cosroe Dusi "Juliet and Romeo" from 1838, engravings, and sculptures that narrate the iconographic fortune of the tragedy of Romeo and Juliet. Among the exhibited items is the bed used in Franco Zeffirelli's 1968 film. The rooms are decorated with medieval motifs, offering visitors an immersion in the atmosphere of the era and a suggestive view of the rooftops of Verona. / The famous balcony is the result of assembling marble remains from the 14th century that, until 1920, lay in the Castelvecchio Museum as stones to be reused, according to the architectural style of the time. The medieval residence, picturesque restored by Antonio Avena in the early 20th century, features a beautiful interior facade of exposed brick, a gothic-style portal, trilobate windows, a balustrade connecting the various bodies of the house from the outside, and, of course, the famous balcony. / In Verona, there indeed existed two families named Montecchi and Capuleti (or, more precisely, Cappelletti), and they are also mentioned by Dante in the VI Canto of Purgatory in the Divine Comedy. / Juliet's House is among the most visited places in Verona. / The Capulet Hall, within the structure, can also host wedding ceremonies. The reservation made refers exclusively to the chosen hall for the indicated time. The access route to the hall is defined according to the coincidence of events and manifestations and may undergo changes even at the last moment.
Castle

Palazzo Cavalli Pasquini
Palazzo Cavalli Pasquini is an ancient palace in the historical area of Verona, now converted into an accommodation facility. / This palace is known for the details of its frescoed facade, which starting from the top, that shows a continuous frieze under the eaves with grotesques with three cherubs. In the lower part you can see the monochrome figures of "Venus with Love", "Saturn armed with scythe", "Mercury with rod and caduceus" and "Diana with bow and a crescent moon on her head". / Above the windows, placed in false niches, there are three other figures: from the left, Mars, armed with a spear, Jupiter, with lightning in his hand and Apollo the musician. Between the two windows, there are the two main scenes, "The Astrolabe" on the left, with a figure that could resemble to the Greek astronomer Claudius Ptolemy, and "the Moon" on the right.

Juliet's Tomb and Frescoes Museum
The "Giovanni Battista Cavalcaselle" Fresco Museum is located in the former convent of San Francesco al Corso, a complex whose origins date back to the 13th century. Built in 1230 and initially inhabited by Franciscan friars, the building has undergone numerous changes over the centuries, including partial reconstruction after the explosion in 1624 and the Napoleonic suppression of the 19th century. In the 1960s, the complex was restored and designated as a museum in 1973. / The museum is dedicated to Giovanni Battista Cavalcaselle, a pioneer of modern art history in Italy, known for his studies on Italian and Flemish painting. The collection includes numerous frescoes from Veronese buildings, detached and “stripped” from the walls of palaces and churches in the city between the 19th and 20th centuries, offering a rich overview of medieval and Renaissance art. / In the Sala delle Muse da Casa Guarienti, a 16th-century Veronese palace environment has been reconstructed, specifically the Guarienti Palace at the Filippini, relocating the frescoes that decorated its walls in their original arrangement. The subject of this pictorial cycle has not yet been fully clarified, although some mythological or allegorical figures can be recognized: Mercury with the caduceus, Venus with two Erotes, Diana the Huntress, the allegory of Fame with a trumpet, depictions of river deities and water nymphs. / On the ground floor is the Sala Giacomo Galtarossa - a spacious hall - named after the greatest patron of the Veronese museums of the late 20th century and the first president of the Friends of the Museums of Verona. Outside the hall, in the cloister, six statues representing the Virtues and the cities of Verona and Vicenza greet visitors, originating from the enclosure of the Arche Scaligere, included to unite them and create an ideal dialogue with the 14th-century pieces displayed in the upper rooms of the museum. / Inside the museum, there is also a red marble sarcophagus, traditionally identified as Juliet's Tomb. This legend dates back to the 16th century, and since the 19th century, the tomb has been a destination for romantic pilgrimages. In 1938, the sarcophagus was moved to its current location, where it remains one of the most visited places in Verona.

Natural History Museum
The Natural History Museum, located in the prestigious Palazzo Pompei, is one of the main historical and architectural buildings in the city. Commissioned by the Lavezzola family between 1530 and 1550 and designed by architect Michele Sanmicheli, the palace was donated to the Municipality of Verona in 1833 by Count Alessandro Pompei to host scientifically valuable collections. / The museum consists of sixteen exhibition rooms, a library, laboratories, storage rooms, and offices, and is divided into four main sections: Botany, Geology and Paleontology, Prehistory, Zoology. The museum plays a fundamental role in scientific research and territory monitoring: among the flagship projects are studies on the presence and spread of microplastics in the environments of Verona; the study of ecological, evolutionary, and geological dynamics of the last underground glacial environments of the alpine and pre-alpine areas; and the monitoring of urban biodiversity and natural areas. / Of great significance are the rich natural history collections, dating back to the sixteenth century, evidenced by dozens of specimens from one of the first natural history museums in the world, the Calzolari Museum. Currently, more than five million zoological specimens and about three hundred thousand herbarium sheets provide scientists and enthusiasts the opportunity to learn about and study the rich biological diversity of our country and its evolution over time. In addition, there are the paleontological finds from Bolca, a unique collection in the world, and important prehistoric collections that allow for an increasingly precise reconstruction of the geological and anthropological history of our territory. / The museum is also very active in scientific dissemination, both for professionals with the publication of the Museum Bulletin, the Memoirs, and the series dedicated to paleontological research in Bolca, and for the general public with publications and offers of workshops and guided tours for schools and families.

Villa Maffei
The noble Maffei family owned the estate since the first half of the seventeenth century. The Maffei remained the owners of the assets until 1920, when they passed them to the Antonello family, who ceded them to Guglielmo Turco. The latter decided to donate the residence along with the adjacent agricultural land to the congregation of the Stimmatini fathers when his only son died at the age of 22 in a car accident, keeping the memory of the young man alive. Currently, the villa houses the secondary school of first degree “Cappelletti-Turco.” / Access to the villa is through a monumental entrance portal from the 18th century; a large garden adorned with boxwood hedges frames the main façade of the noble residence, characterized by a neoclassical design. The architectural layout adheres to the geometric rules of the period, such as the airy access staircase with a stone balustrade leading to the entrance door and the imposing balcony, also with a balustrade, on the first floor. / Across the entire façade, windows open according to a triplet of compositional rhythm. The villa spreads over three floors, and on the top, the heraldic shield of the Maffei family is prominently displayed. / Inside, the villa comprises a layout typical of manor houses, with a large entrance hall and side rooms that follow in sequential order. On the main floor, other rooms, now used as classrooms, lead to the former ballroom with walls decorated with frescoes and a marble balustrade on the shorter sides. / There are other rustic buildings that made up the estate, such as the stables, designed by Ronzani, and the housing for the workers. The building is surrounded by a centennial park.

Museo dei Trombini
The origin of "trombini" is very ancient. Evolving from weapons of the 1600s used for defensive purposes, the trombini have over the years become folk instruments used for celebratory purposes, in commemorations or village festivals. / The locality of San Bortolo has remained one of the few centers in Lessinia that keeps the tradition of trombini firing alive, making them a true attraction in its museum that houses ancient decorated and carved historical specimens as well as interesting projections and videos of the firings. / Exhibiting such a particular firearm to the public in a museum, now a festive tool, reminds us that the trombino is still an essential instrument for accompanying the extraordinary moments of a community throughout the year.
Museum

Palazzo del Capitano
Built in the 14th century by the will of Cansignorio della Scala near Porta Aquila, it was the ancient residence of the Praetors and Governors of Soave. During the Venetian domination, it became the residence of the Captains who represented the highest authority; for this reason, the building is also called the Captain's Palace. / Once, it included 24 rooms on the upper floor, while the ground floor housed stables for horses. / The palace and the attached Italian garden "Parco Zanella" were donated to the municipality of Soave by the Zanella family. / The entire complex, now the seat of the Municipality of Soave, underwent a radical restoration between 1982 and 1985. The space in front of the loggia is now used for events and cultural manifestations, and often hosts large impactful art installations.
Town Hall

Castello di Soave
The main entrance, equipped with a drawbridge, is protected in the medieval manner by a mighty tower, on which stands a bas-relief of Saint George. / Crossing the drawbridge, one enters the first courtyard, built by the Republic of Venice in the 15th century. In the courtyard, one can see the remains of an ancient modest-sized church with three apses, whose origins can be dated back to the 10th century, during the raids of the Hungarians. This structure was built for the local population seeking refuge there. / As one ascends, they enter the second courtyard, the largest one, known as “della Madonna.” The entrance door is topped by a tower, on whose wall there is a fresco depicting the Virgin. The painting is dated June 1st, 1321. / In the last courtyard, the highest and smallest, rises the tower, or Mastio, which represented the last and most vigorous bastion of defense and which was likely a place of imprisonment and torture, as evidenced by human bones discovered here during restoration work. To the left of the entrance door to the courtyard, there is a fresco from 1340 depicting a shield with the four-step Scaliger ladder supported by two rampant dogs; in the background, a warrior followed by a retinue of soldiers with a Scaliger flag. / In the middle of this courtyard, there is a well. Beside the Mastio stands the palace with the Guardhouse, where one can admire the weapons of the Scaliger soldiers. In the inner courtyard, as in the middle one, the original existence of soldiers' barracks can be verified. / An external staircase leads up to the residence of the Lord or his representative in the Manor: a well-preserved medieval house. The staircase leads into the central room called “La Caminata” because of the large fireplace. / A small door leads into a small hanging courtyard created some years after the Republic of Venice took possession of the Castle from the Carraresi (15th century). / From a door in the “Caminata,” one passes to the bedroom, where an important fresco from the 1200s can be admired, depicting the crucified Christ, the Virgin Mary, and Mary Magdalene. / The other room is the dining room, well-furnished and sumptuously decorated. Around the walls are chests and chairs, while in the glass case on the sideboard are displayed shards of pottery discovered in the necropolis of the area. / Continuing, one enters a small room where five portraits are displayed on the walls: Mastino I, the founder of the fortunes of the Della Scala family; Cangrande, the most illustrious figure of the Signoria; Dante Alighieri, the poet who was a guest of the Scaligers in Soave; Taddea da Carrara, wife of Mastino II, successor to Cangrande; Cansignorio della Scala, who was credited with the restoration and expansion of the Castle. He surrounded Soave with walls and built the Palace of Justice and the Scaliger Palace (or Captain's Palace). / Exiting through a small door and ascending a few steps, one arrives at the “path of the ramparts” which allows access to the Mastio, the highest point of the Castle, from which a wonderful panorama of the Veronese hills and the Po Valley can be admired. / The Castle can be reached on foot from Piazza dell’Antenna, located in the center of the medieval village, or by car using the road that ascends from the north of the town.
Fort

Palazzo Cavalli
It is located in the center of the medieval village, next to Piazza dell’Antenna. It was erected in the year 1411 by Nicolò Cavalli, Captain of Soave, and son of the famous warrior Giacomo, appointed by the Serenissima as “noble Venetian and founder.” / It is a palace in perfect Gothic-Venetian style, with trilobate windows with pointed arches and an underlying loggia. / The façade was once beautifully frescoed with mythological subjects by Giovanni Maria Falconetto from Verona. As evidence of the frescoes, a panel by Pietro Nanin remains inside the palace, which reproduces the façade as it must have originally appeared. / In a geometric framework that surrounded the windows, panels depicting the Labors of Hercules were arranged, a theme that was also very common in various houses in Verona at that time. / In the Renaissance trifora, you can see, in the central columns, bas-reliefs depicting the lizard and the scorpion, figures thematically related to the subjects of the frescoes on the façade, which are no longer visible. / The palace is only visitable from the outside.

Palazzo Pullici
Palazzo Pullici, built in the 15th century in Via Camuzzoni, consists of a courtyard layout surrounded by high and sturdy walls. / The façade features rustication at the upper part and the stone frames of the windows, characteristics typical of the early Veronese Renaissance. It was renovated between the 15th and early 16th centuries, a period to which the decorative under-eaves and the window frames with stone profiles can be traced. / As the plaque on the façade testifies, the poet Ippolito Nievo spent his childhood in this palace between 1832 and 1827. / In the courtyard, the external staircase connecting the floors is interesting; examples of such staircases can be found both in Verona and Venice, and are generally linked to the warehouse houses (fondachi). / It is now the headquarters of Pieropan winery.

Villa Gritti
The first owners were probably members of the Cavalli family, wealthy owners from Verona. In fact, Pietro Cavalli made a large land purchase in the area in 1408. Later, in 1480, the villa was transferred to the family of Marquis Malaspina and then in 1522 to his daughter Giulia, who was married to the Venetian nobleman Alvise Gritti. / The Gritti family expanded the villa, moving the farm buildings from the east side to the west side of the manor house. In 1830, Francesco Gritti sold the villa to the Camuzzoni family, who acquired it in a state of abandonment, due to numerous flooding from the surrounding rivers and the Napoleonic battles fought a few decades earlier in the nearby territories. / Giulio Camuzzoni took care of restoring the villa to its original splendor, and under his ownership it reached its peak of beauty. The entrance to the garden was built with a gate decorated with stone vases, neo-Moorish greenhouses, and the crenellated tower. Thus, the complex became characterized by a plurality of architectural styles. / Today, the north facade is the representative one, enriched by an Italian garden, with a neoclassical central body and a triangular pediment. The double staircase leads directly to the noble floor, characterized by framed windows. The building is flanked by two two-story structures: the one to the northeast is in eclectic style, while the one to the northwest is in Moorish style. / The south facade, on the other hand, is simpler and represents the productive part of the villa: it opens onto a large courtyard and is flanked by two large farm buildings. At the end of the garden surrounding the courtyard, there is a rustic building from the late 16th century with a ground floor portico supported by 18th-century Doric columns. / In the northwest corner of the garden, we find the church dedicated to San Matteo, adorned with a bell tower and restored in 1926. The sober facade features a pediment supported by two pairs of pilasters with Ionic capitals.
Architecture

San Bonifacio

Abbazia di San Pietro - Villanova
The Abbey of Villanova with its bell tower, monastic buildings, and rural court constitutes a vast complex that has controlled and administered the extensive territory surrounding it for centuries. The construction of the church likely took place in the second half of the 11th century, although what we see today is the result of reconstruction that occurred after the earthquake of 1117, combined with various restorations carried out in the 14th-15th and 17th-18th centuries. / The facade of the Abbey of Villanova features the stylistic characteristics typical of Veronese Romanesque architecture, with the imprint of the projecting porch above the portal still visible, typical of all Romanesque churches in Verona. The Romanesque apse area shows different workmanship that testifies to the subsequent reconstructions. / The interior of the church maintains its original three-nave structure with alternating pillars and columns. The frescoes were created between the first half of the 14th century and the 15th century; the sculptures are also from the 15th century, while the altars made of polychrome marbles, the staircase leading to the presbytery, and the angels resting against the pillars are from the Baroque period. The roof of the naves with ribbed vaults is Baroque too. / In contrast, the suggestive crypt is entirely Romanesque, supported by slender columns and ribbed vaults. / From the presbytery, one can access the robust bell tower, which is open for visits up to the late Gothic bell chamber raised above the Romanesque tower. Additionally, there is access to the 15th-century cloister that encloses the Herb Garden, the Herbalist's Workshop, and other rooms of the ancient monastery. On the upper floor of the cloister are the Historical Museum of the two World Wars, the Dormitory, and the Guesthouse, which currently hosts a small Museum of Peasant Civilization and the Scriptorium (Exhibition of writing from scribes to the invention of printing). Returning to the ground floor, the visit continues with the historical-archeological and sacred art museum featuring artifacts and furnishings owned by the Abbey, as well as the Civic Geopaleontological Museum and the fossils “Abbot Don Giuseppe dalla Tomba.”
Museum

Comune di San Bonifacio
Town Hall

Palazzo Comunale di Monteforte
It is located next to the parish church and was built during the Napoleonic rule between 1811-13, designed by Bartolomeo Giuliari, as the seat of the capital of Canton VIII of the Adige department. / Inside, you can observe some interesting works of art, such as "The Assumption of the Virgin and Saints Francis and Dominic" by Felice Brusasorzi (1539 - 1605) in the council chamber, "The Adoration of the Magi" by Giovanni Camuzzoni (1623) and "Madonna with Child" attributed to Pietro Rotari (1707 - 1762), both in the Mayor’s office.

Chiesa di San Giorgio (Sorio)
Rebuilt in 1530, it was restored in 1645, 1736, and in 1964-65. At the main altar, dating back to the 18th century, there is a notable canvas attributed to Montagna (circa 1450-1523); other works are from the school of Carpioni. The 14th-century bell tower, poorly restored, preserves within a niche an ancient statue of the Madonna. Some signs indicate the Romanesque origin of the Church of San Giorgio (some stone statues and especially the wonderful recently restored Romanesque bell tower). In February 1525 it was "reconsecrated" after a substantial renovation according to the lines of Renaissance architecture. From 1665 to 1711, the apse and the main altar were demolished and rebuilt with Baroque touches to the various structures. Finally, in 1964, a nave was added to create space for celebrations.
Religious building

Obelisco di Sorio
The Battle of Sorio took place on April 8, 1848: the strong Austrian army faced the newly formed contingent of Vicentine crusaders. During the clashes, about fifty young volunteers lost their lives, overwhelmed by the well-trained and armed Austrian army. The administrations of Gambellara and Montebello decided in 1868 to build an obelisk on the site in memory of the fallen youth. / The monument was designed by architect Antonio Caregaro Negrin, located in the territory of Montebello, but in an area adjacent to the territory of Sorio in Gambellara, to the extent that it appears on the Gambellara coat of arms. In 1907 the obelisk was restored and to this day, tourists can stop there, perhaps on foot or by mountain bike, enjoying the beautiful vineyard-covered hills of the surroundings. /

Villa Da Porto "La Favorita"
The Villa Da Porto, known as "La Favorita," is configured as a Venetian villa in Palladian style, commissioned by Giovanni Battista da Porto in 1714-1715 and designed by architect Francesco Muttoni. / It is located on a hill, in a dominating position. The interior painted decoration, whose author remains unknown, was probably completed in the years 1717-1718. / In the early years of the 19th century, the villa changed ownership to other Venetian families, including Balbi, Ziggiotti, Manin, before returning to the Da Porto family at the end of the century. In 1947, the villa was purchased by the parish and was used as a church for a period. / The villa is reached through a long and scenic tree-lined avenue and consists of three floors. / The main facade features a high staircase leading to the Ionic-style pronaos, topped by a triangular pediment adorned with statues of Apollo, Minerva, and Mars. The eastern facade, on the other hand, has three openings with masks on the keystones, enclosed by elegant loggias. / At the top, there are statues of Mercury, Hercules, and Onfale. / The structure is articulated around a large central room with double height, forming two wings of smaller rooms. / There are also two porticoed barchesses, detached from the main body, with a serliana opening in the center. / Outside the walls, there is the Carmine chapel, built in 1697.

Castello di Montebello (dei Maltraverso)
Emperor Frederick I of Germany grants Albert Maltraverso, in 1154, the castle on the hill of Montebello and invests him with the title of Count. This is the first certain document regarding the existence of a stronghold on that hill which extends to dominate the rich plain on the border between Vicenza and Verona, a necessary passage between the last foothills of Lessinia and the Berici mountain range. / The fortress must have existed for a long time, and the same imperial investiture could refer to a 'de facto' regularization of the situation or an elevation of rank for the wealthy Maltraverso family. / In the territory of Montebello, significant artifacts dating back to the Roman and even pre-Roman era have been found, attesting to the importance of that convenient observation point on the major communication route that the Postumia road was, between Verona and Vicenza. / The castle became a highly strategic location during the struggles between the medieval lordships. Not far away, and in optical connection, are the castles of Villa and Bellaguardia (Juliet and Romeo's Castles in Montecchio Maggiore) and the Rocca di Brendola. Toward Verona, the nearby rich castle of Gambellara, but the extraordinary concentration of castles in the area is also reinforced by the castles of Montorso and Arzignano. / The fortunes and history of this group of castles are almost similar and events can be attributed indistinctly now to one and now to the other. / The surroundings suffered raids from the fierce troops of Ezzellino III da Romano, who on that occasion besieged and destroyed the castles of Gambellara and Montorso. / In the 13th century, the castle was held by the Carraresi, a Padua lordship, but the village and the castle itself were besieged and pillaged several times by the Veronese. / In 1313, the castle passed to Cangrande della Scala, who committed to a radical restoration and reinforcement. For a brief time, all the territory, and thus also the castle of Montebello, was in the hands of the Milanese lordship of the Visconti. / Finally, it was the turn of the Venetians who from 1400 gathered all the territory of the Veneto mainland into the 'stato da tera.' The castle lost its strategic importance and, in the early years of the 1500s during the war against the League of Cambrai, was dismantled as a military fortress in an attempt to avoid providing logistical support to the invaders. The same fate befell the nearby Rocca di Brendola. / Subsequently, the structure was sold to private owners and transformed into a prestigious noble residence. / At its feet, in 1796, bloody episodes took place between the Napoleonic army and Austrian troops. / Currently, the castle is not open to visitors and is privately owned.

Barchesse di Villa Trissino
The barchesse of Villa Trissino, built in 1567, are the only surviving part of a project by Palladio that was never completed to realize a Venetian villa in Meledo. / The complex has been included in the UNESCO World Heritage list and has recently undergone significant restorations. / There are clearly visible traces of the project's beginning in the stone foundations of buildings along the Guà river and in the two barchesse with Tuscan columns. / There is also a dovecote tower, equipped with chimneys and frescoed with grotesques attributable to Eliodoro Forbicini, a Veronese painter. / The garden next to the barchessa is in the Italian style.
Architecture

Fonte del parco
Spring

Farmacia Dott Liviero Mario & Alberto Snc
Pharmacy

Comune di Brendola
Town Hall

Capitello
Art

Fonte vicino al capitello
Spring

Castello di San Martino della Vaneza e Museo del Bacchiglione
The Castle of San Martino della Vaneza is located along the bank of the Bacchiglione river, which has represented, since ancient times, an important strategic center for military defense and later a renowned reference for commercial traffic. / Around the year 1000, the first defense system was constituted by the characteristic tower over twenty meters high. In 1324, the Carraresi became owners of the Castle of San Martino, implementing important renovations that involved the trachyte stone enclosure and the tower, making it more sophisticated with a series of protruding brick battlements. / Organized on six floors, even today we can find the characteristic signs of a structure intended for military defense, such as the high and narrow slit windows located on the ground floor of the enclosure. / The year 1405 was when the Venetians transformed the castle into a true commercial center, developing a thriving and functional river port. The main activity involved the distribution of semi-finished wood products from the nearby forests, needed by the Venetian shipyards. / From 1930 to 1978, the owners of the castle were the Antonini Papavafa of the Carraresi. From 1979 to the present, it has belonged to the province of Padua, which, thanks to an important process of enhancement and recovery of ancient artifacts, allowed, in 1995, the opening of the Archaeological Museum of the Bacchiglione River.  The Museum allows visitors to learn about the fascinating history of the populations that inhabited the floodplain, fully enjoying the spectacle of the surrounding nature. / Today, the Castle of San Martino hosts beautiful events, such as medieval reenactments and themed festivals.
Fort

Castle on the Mottolo
The Medieval Castle on Monte Mottolo is now part of the “La Montecchia” mansion and you can visit it by visiting in turn Villa Emo Capodilista and the estate. The set of buildings that cover the small Euganean hill of Mottolo has been for centuries the hospitality of the noble Capodilista family, administrative centre and collection of products from a vast farm estate. It is accessed through a large door dominated by a sturdy dove tree that stands out on a long building that has grown parallel to the road over several centuries. The oldest part is represented by the dove tree, which already existed in the 17th century. In this long building until a few decades ago lived the gastaldo and the farmers responsible for running the large farm of the Capodilista family. Part of the building still preserves the original purpose of cellar, barn and tool shed. At the southern end there is the singular architecture of the body with staircase, worked in front of the eye and supported by three polycentric arches, dating from the late 17th to the early 18th century. Beyond the gate, there is a purely medieval scenery. On the Mottolo stands a castle whose dominant element is a sturdy square tower. In fact, the current physiognomy is the result of a series of heavy building works, carried out between 1924 and 1928, which radically transformed the original structures. The oldest body is the tower that rises in the center of the Mottolo. It dates back to the 13th-14th century, while the north-eastern wing was added in the 17th century. Over the years Twenty the tower was modified with the reshaping of the windows and the elimination of the battlements. The north wing was partially rebuilt and adapted to the rest of the building. The southern wing was built from scratch with a tower at the corner in the southeast vertex which was connected by a wall to the north-east. This resulted in a closed courtyard in place of the pre-existing open space.

Palazzo Eugenio Maestri
Palazzo Eugenio Maestri was designed by the engineer Eugenio Maestri in 1878 and completed in 1880. Up to 1997 it housed the Town Hall, whose offices were then transferred to their present-day location in Piazza Puchetti. / Restructing work began in 2008, and now the palazzo houses the Town Library, public offices (library, sport and culture departments); institutional venues and a new Council Chamber (created by extending the rear of the old building) This chamber, which is used not only for council meetings but also for other offical gatherings, has multimedia facilities for conference-voting, recording and live-streaming. / Palazzo Eugenio Maestri comprises a central body, two side wings and the above-mentioned rear extension. The central block has three floors and houses the new Town Library, which is named after Melchiorre Cesarotti. However, three rooms on the second floor are given over to other institutional uses (Sala "Regina Caterina Cornaro", Sala "Conte Giorgio Emo Capodilista" and Sala "Giovanni Poleni"). The Sala "Vittorio de Zanche" on the ground floor has a glass floor which makes it possible to see the remains of the walls of the nineteenth-century church that once stood here.
Cultural Center

Auditorium San Michele Arcangelo
A prestigious venue that hosts shows, concerts and theatre productions, the Auditorium in Selvazzano is a deconsecrated church that has acquired a new lease of life. From its Opera Festival to its Jazz Festival - along with various performances by the area’s schools - it has become a point of reference for cultural life throughout the zone. / The present form of the bell-tower dates from the nineteeneth century, although the church also underwent extensive restructuring in 1655. A small treasure trove of artistic riches in its own right, the building houses fine church furnishings and numerous paintings by Veneto artists (most of which are on loan from state collections). / The church was used as a place of worship up to 1959, when the new church was opened. Following this, it served as a craft workshop and then began its present function after painstakingly precise restoration during the 1980s.
Cultural Center

Archaeological area of Santa Maria di Quarta
The remains of the ninth-century church of Santa Maria di Quarta within this archaeological site consist of a part of the apse and some free-standing walls. The church was located within the vast territory of the Corte di Quarto, in what is now known as Selvazzano Fuori, on the left bank of the river Bacchiglione. / The decline in the economic fortunes of the area began in the fourteenth century, due to war, enemy raids, epidemics and flooding, and the result was that the religious foundation was completely abandoned. The church then enjoyed new life after, in 1513, it was – together with the land in the area – incorporated within the estates of the convent of San Giorgio in Padua. The nuns successfully managed the agricultural estates here, contributing to the rebirth of a community in the area. These improving fortunes ultimately resulted in the recognition of the rural town of Quarta as an adminstrative entity. However, this autonomy would disappear in 1810 due to the reorganization of territorial administration during the period of Napoleonic rule. / The archaelogical site provides the opportunity to visit the ruins of a church which once played a crucial part in the social and economic life of this area.
Archaeological Site

Esapolis - Museo Vivente degli Insetti
Italy’s first bacological research station is still part of the new complex and forms an important facility of support, conservation and scientific inquiry under the Ministerial Centre for Agricultural Research. / Historically one of the most important facilities in this sector, the station began life in the late nineteenth century, and its collections of instruments, books and different breeds of silkworm from all over the world are now part of the Esapolis Museum. The curators and researchers at Esapolis maintain contact with their numerous counterparts throughout the world, particularly those in China, which is historically associated with the silkworm and is still the world’s largest producer of silk. These contacts include not only the Hangzhou National Museum of Chinese Silk but also other prestigious universities both within Italy and aboard. / The exhibition is multi-faceted, with numerous important living exhibits from the micro-mega worlds of insects, arachnids and many of the other small living creatures that make up the largest animal biomass on our planet. At Esapolis, visitors are not passive observers of the material present; they can also engage in more or less direct interactions with the exhibits. As well as the permanent exhibitions, there are also temporary events that change over time. With its hi-tech installations and interactive laboratories, Esapolis provides visitors with an experience that will stimulate their senses and their minds.

Museo della Calzatura
The Shoe Museum was initiated by the president of the Luigino Rossi Shoe Factory to showcase the most representative pieces created by the company over the course of its activity. The facility was inaugurated on June 24, 1995, marking the fifty-year anniversary of the company's operations. / Rossimoda produces luxury women's footwear, thanks to the acquisition of licenses for high-fashion brands at the highest levels of quality and international importance. / The exhibition path has been organized with the intent to enhance the contribution of individual fashion houses, with particular regard to the stylistic evolution of the “griffes” over time, where the years of collaboration with Rossimoda make this possible. The Museum houses over 1500 models of women's footwear produced by the company from 1947 to the present day, resulting from its collaborations with the most prestigious designers on the international scene. It also hosts a small but valuable collection of Venetian footwear from the 1700s and 1800s.

Duomo di San Rocco
The Cathedral of San Rocco in Dolo originates from a church built around 1570. / With a Palladian influence, it features a single spacious nave topped by a ceiling adorned with paintings by C. Cedini, from the Tiepolo school. In the presbytery, we find canopies, paintings of the patron saint and the life of Christ, while a series of 18th-century sculptures dominate the pediment. / The tall bell tower, reminiscent of that of San Marco, dates back to the early 1800s.
Domed Cathedral

Villa Badoer Fattoretto
Summer residence of the Badoer family from the 18th century in Sambruson di Dolo, which until 1945 hosted Carlo De Chantal. The baron had a fixation: to recover the treasure of the monks who occupied the monastery that was built near the Badoer palace in centuries past. / The treasure was never found, but in return, the deep hole dug in the center of the park has become a pleasant lake surrounded by a walk. / Moreover, the villa is also home to the Museum of the Villano, with a collection of over 20,000 ancient tools that tell the story of trades and crafts of the past. A fascinating display of rural tools, such as those of farmers and woodcutters, as well as various kitchen utensils, cellar tools, carts, and carriages.

Passerella pedonale Mira Taglio
In the 20th century, the municipality commissioned architect Paolo Berati to design a pedestrian walkway in front of the municipality of Mira, with the aim of facilitating the crossing from one bank to the other for the inhabitants. The bridge, like all the bridges of the Riviera, is swivel, to allow the passage of boats. Near the bridge, in addition to the town hall, you can find the farmers' market, held every Saturday morning with local products, and the typical fish stand.
Bridge

Teatro Villa dei Leoni
The Villa dei Leoni Theater in Mira is an elegant space owned by the Municipality of Mira. / The structure of the Theater is part of the complex of Villa Contarini dei Leoni, a beautiful 16th-century palace recently restored and reopened to the public on October 17, 2008, and can now host up to 300 spectators between the stalls and the gallery. / Currently, the Villa dei Leoni Theater hosts various theatrical performances and events.
Theater

Villa Contarini dei Leoni
The Villa, located on the Riviera Silvio Trentin, is just a few meters from the Church of San Nicolò. Initially named Villa Contarini, it is now called "dei Leoni" thanks to the two lions placed at the sides of the central entrance staircase built in the 19th century. / The building was reconstructed in 1558 at the behest of procurator Federico Contarini. The structure has a rectangular plan and is divided into three floors. The complex includes, in addition to the Villa, the barchessa and the oratory. In 1696, the Pisani, the new owners, commissioned a series of frescoes from Giambattista Tiepolo, dedicated to a stay in the villa by King Henry III in 1574. The King of France and Poland, in fact, when he arrived in Mira, insisted on visiting the building. The frescoes were torn down in 1893 and sold abroad. Today they are preserved in the prestigious Jacquemart-André Museum in Paris. A stone inscription commemorates the king's visit and is placed on the façade. / The original appearance of the building is unknown, while we only have a few printed reproductions from the 18th century depicting the transformations it underwent over time; likely the attic plan and the four dormers were added later by the Pisani. / The interiors have arrived largely stripped. Inside the villa, located on the second floor, there remains a large washbasin made of red Verona marble, which is the only object dating back to the time of the Contarini. / The oratory has been dated to the late 17th century; in 1978 it was restored after being severely damaged by the earthquake of 1976, and today it is used for ceremonies and artistic exhibitions. The park was originally very extensive and famous for its rare plants and essences; today it is designated as a public park. / The barchessa has been restored and has now become the municipal theater of Mira. / Villa dei Leoni became the property of the Municipality of Mira in the mid-20th century: in 1955 it was used as an elementary school, and subsequently the first public showers were established in this location, which also served for several years as the site of the municipal library and demographic offices. The last restoration was completed in 2008. / Villa dei Leoni is still owned by the municipality and is used for exhibitions and events.
Park

Villa Widmann Rezzonico Foscari
The traveler who in the eighteenth century faced the traditional Tour of Italy and, aboard the burchio went up the Brenta from Venice to Padua, could admire one of the jewels of the late Venetian Baroque: the complex of Villa Widmann Rezzonico Foscari. / Jewel among the jewels of the Brenta Riviera, Villa Widmann Rezzonico Foscari is characterized by its ancient statues, brilliant frescoes, created by Giuseppe Angeli and Gerolamo Mengozzi Colonna, Murano glass chandeliers and period furnishings. Its monumental park extends for over 16,000 square meters between avenues of hornbeams, ancient roses and a romantic lake with aquatic bald cypresses. / Built in the early eighteenth century by the will of the Serimanns, Venetian nobles of Persian origin, the Villa obtained its current shape only in the middle of the same century, when the Widmann family, after purchasing the property, modernized it adapting it to the French Rococo style. The central body thus became a welcoming home for parties and receptions. Currently the complex is owned by the Metropolitan City of Venice, formerly the Province of Venice.

Casone di Val Zappa
Although the Casone has nothing to do with the traditional hunting lodges of the lagoon, it fits perfectly into the lagoon landscape, almost enhancing its beauty. / A well-tended garden, where there are many species of plants and fruit trees, adorns the entire complex, which includes, in addition to the main building, a barn and a lookout tower for hunting game, with an external spiral staircase, always equipped with binoculars to admire the surrounding landscape and, why not, also spot some particular species of birds. / A marble plaque placed on the left wall informs us that the casone was built between 1923 and 1928 at the behest of the Vicentine Mario Malvezzi, according to the design of the architect Duilio Torres, a great enthusiast of Nordic architecture, who designed and constructed this Dutch jewel (perhaps encouraged by the owner as well) that is unique not only on the outside but also on the inside. / The peculiarity: each room is painted a different color, assigned to guests who spent the night waiting for the hunting expedition. They had to sleep in the room whose color was matched to the hunting barrel and the observation post assigned to them by the head of the hunt. The rooms on the ground floor are equipped with a fireplace where numerous sayings and proverbs in dialect are written on each hood.
Nature reserve

I1 Garda-Venice
Relax and adventure pedaling through the wonders of the Venetian hinterland
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