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At the beginning of 1500 the Venetian patricians transferred their interests from the sea to the land: thus they passed from trade to agricultural activity. These transformations are responsible for the flourishing throughout the Veneto area of ​​many villas, a priceless heritage today often degraded or lost, of art and culture. The so-called country houses thus arose along the Riviera del Brenta, along the Terraglio, along the Sile, in the Veronese plain, in the Polesine, around the Euganean Hills, the Berici Hills, Montello and in the Prealpine Valleys.

The architectural style was the classical one, obtained from the encounter between the ancient and the Renaissance, with the use of arches, columns and tympanums.

The Venetian villa was often both a summer residence and a farm. Here then is the structure of the factory with a central building or manor house and symmetrical side wings or barchesse, used as homes for farmers, warehouses, warehouses, stables, stables and barns and connected to the central structure by means of large arcades.

It was between the 1500s and the 1700s that architects such as Palladio, Scamozzi, Sanmicheli and Massari enriched the Veneto area with these refined buildings, embellished with statues, fountains, water features and surrounded by large and delightful parks gardens, places of rest and entertainment of the rich and cultured Venetian nobility.

Villa Badoer

Designed in 1556, it was built starting the following year by Andrea Palladio. It is characterized by two semicircular barchesse, by a loggia in the forepart on the facade, surmounted by a tympanum with six stupendous Ionic columns and by exedra arcades of the Tuscan order, which frame the main house and part of the garden. The loggia is accessed via a majestic staircase, which occupies the entire width of the facade.

A crenellated wall, to the left of which is the noble chapel, divides the villa from the road. Simplicity, refinement and harmony characterize this villa which differs from the other Palladian buildings, more majestic and richer in ornaments. In the villa, built for Francesco Badoer, the family resided until 1678, the year in which it went as a dowry together with the land annexed to a Morosini.

Decorated by the Giallo Fiorentino, the villa presents itself as one of the most precious jewels of the Palladian genius. The staircase leads to the large central room, flanked by small rooms, responding to the rigid geometric relationships of Palladio.

Villa Morosini

The villa was built in 1706, commissioned by the Venetian nobleman Gian Francesco Morosini, by the architect Tirali. The building, on a square base, unfolds on three floors and has the median sector surmounted by a pediment. A pincer staircase on the south facade allows access to the main floor, marked by arched holes. In the octagonal hall there is a gallery in the center and four monochrome frescoes painted by Mattia Bortolomi around 1730 and depicting the life of Alexander the Great.

The building was abandoned and left in ruins and then sold to private individuals, the Pavanelli di Fiesso Umbertiano family, who transformed the property into a place for the breeding of silkworms and as a granary for storing wheat. During the carnival period the central rotunda was used for dance parties.

Villa Nani Mocenigo Bertetti

Work of Vincenzo Scamozzi Villa Nani Mocenigo was built from 1580 to 1584. It was completely ruined inside by a fire in 1944. It was decorated by Mengozzi Colonna, frequenter of Giovan Battista Tiepolo and his collaborator for the frescoes of the Scalzi Church and of Palazzo Labia.

Connected to the banks of the Canal Bianco through a flight of steps, the villa has undergone continuous transformations that have completely altered the initial structures, designed by Scamozzi. In fact, the main facade dates back to the 1700s, with majestic staircases and a loggia with four Corinthian columns, which ends with an attic with three quadrangular windows, decorated on the top with classical vases. The recall with Palazzo Chiericati in Vicenza is inevitable.

These interventions do not link harmoniously either with the initial building or with the heavily Baroque interior spaces. On the sides of the loggia two masonry blocks have large gable windows, surmounted by smaller square windows, separated by two beautiful coats of arms depicting the weapons of the Dwarves.

Coat of arms The side and north facades are simpler and more classical. The latter overlooks the park full of centuries-old trees and allegorical statues in Vicenza stone. Also in the park is the farmer's house, which dates back to the 15th century and the noble chapel.

After the restoration, the eighteenth-century frescoes by Mengozzi Colonna and those of the Emilian school with architectural fantasies and still lifes were partially recovered.

Villa Patella

The large building was erected on behalf of the noble Venetian family of the Patella counts at the end of the 17th century, near the Adigetto, in the center of vast reclaimed estates. Due to its layout, the villa was intended for residential use right from the start. The tombstones in the oratory are preserved from the original clients.

Later it passed into the property of the Ferri counts and then to local people who stripped the villa and the oratory of everything valuable. Despite its simplicity, it looks like a massive construction, with the holes framed by ashlar and the central balcony with the gable portal. This very protruding balcony is supported by heavy corbels and also embraces the two side windows.

In the southern part it has a portico with Tuscan columns and a mullioned window in the upper part. At one time there must also have been some rustic adjacencies, now replaced by the buildings that flank the villa and the chapel of San Bortolo. Of the same park that once surrounded Ca 'Patella, only a small part remains today.

In the vast central hall on the main floor, four restored canvases by an unknown artist, but from the Venetian school of the 18th century, coming from the nearby Oratorio Patella, have been placed. The oratory, or chapel of San Bortolo, preserves inside a fresco of the Madonna and Child, by an unknown artist and in a bad state of conservation.

Villa Schiati

The villa, built in the 16th century by the noble Ferrarese Schiati family, passed to the Saracco-Riminaldi counts and in 1897 to the Giglioli counts, who in 1921 ceded it to the municipality of Ficarolo. The building has simple lines on a rectangular plan, with an external marble staircase. On the sides of the façade, two semi-protruding towers recall the castle destroyed in the 16th century. from the river Po to Ficarolo.

In the middle of a romantic park stands a noble red brick facade. Canova's judgment should not be forgotten, underlining how "the conspicuous building completely disregards the Venetian culture of every era and instead falls within the typical Ferrara taste, clearly connecting to the Este military architecture".

The villa appears to have undergone renovations and changes that have altered its original layout. The fact is, however, that, even with these changes and replacements, the primitive position of the stairwells remains unchanged over time, thus demonstrating the "constitutional" lack in this construction of any type of monumental or representative stairway. A fact that brings a model of residence that is distant from it in many other respects to the Venetian architectural trend.

Inside there are valuable stuccoes and a mosaic floor. Some tombstones recall that in 1655 the villa hosted Christina of Sweden, traveling to Rome, in 1693 Cardinal Ferdinando d'Adda, ambassador of Pope Innocent XII, in 1699 Cardinal Fulvio Astaldi, legate of Ferrara and in 1866 the general Cialdini, who passed the Po to Calto, to occupy the Veneto, placed his headquarters in Villa Schiati.