History
It was built at the end of the Sixteenth century, on the left bank of the Brenta, by the Venier family and it has been inhabited from this family for about two centuries. In 1700 it became the property to Contarini of San Trovaso family and then to Barbarigo of Padua family. At that time Orsetta Barbarigo organized there magnificent sumptuous parties and performances. It was later inhabited by Manin family, then by Cipollato family. Subsequently, an admirer gave it to the singer Adelaide Borghi-Mauro. Between the end of the Nineteenth century and 1955 lived in other families: Guadalupi, Menin, Rampazzo (1921) and Capuzzo (from 1933 to 1955). He then went to the Congregation of the Dominican Sisters of Blessed Imelda, currently owned by the Veneto Region.
Architecture
The complex of the Villa, set in a discreet park, consists of a central body initially with a square, two detached guest quarters or "Barchesse" and an oratory with attached adjacent to the east side. In the incision left by Coronelli in 1709 the central body is made up of ground floor, first floor, second floor, attic with square windows, four-pitch roof. Instead, in his engraving of 1750, Costa shows us the second floor of major proportions and in the third floor attic to crown. Currently, the main body is rectangular because in the early Nineteenth century it was enlarged by the addition of small rooms on both sides for the full height. Perhaps this expansion is the work of Carboni architect who, and this is certain, he added arcades to connect the two "Barchesse" to the central body. The "Barchessa" or guesthouse on the left (west) consists of a basement with vaulted ceilings, three living rooms decorated with frescoes on the portico in front of a five-arched bays now closed by wooden doors and windows. The "Barchessa" on the right (east) consists of a living room well decorated with frescoes, of stables, of stores and on the attic floor to the rooms for the servants. It is also equipped with a seven spans portico now closed in part by window frames and in part (last two arcs) from the masonry. The Oratory that currently exists at the southeast corner of the property was rebuilt in 1752.
Decorations and frescoes
Salons "Barchessa" or guesthouse on the left (west): the decoration extends over the walls and ceilings of the three rooms. It consists of columns that divide up the walls and fake paintings shown by heavy framing of green foliage. The original decoration Seventeenth century was partly covered by an intervention on the Eighteenth century. The first room is painted with episodes from the Odyssey. The ceiling is made of a loggia open on fake spiral columns and decorated rooms in the center of a large box with a scene of sacrifice. In the second room the architectural wall system is made up of columns decorated with vines and fake paintings with episodes from the fall of Troy. In the ceiling of a very articulate quadrature, a faux balustrade; eyes of heaven in perspective when you look at the center of the "putti" and a box with "Elena Sacrifice." In the third room on the walls divided into columns, partly covered in Eighteenth-century repainting episodes are presented for the first song of Illiade. The ceiling is decorated with a complex system architecture at the center of which is painted the "Consesso Olimpico". The state of preservation is poor with obvious damage in the third stanza, with loss of color and heavy traces of moisture. In the central room renovations were carried out in 1958 by CB Tiozzo. Attribution: perhaps Francesco Ruschi (Rome 1610-1660) for the frescoes – maybe P.A. Torri for the architectural decorations. Living Barchessa on the right (east): the walls are divided in Ionic capital columns, niches with mock statues and pieces of scenery with episodes of "Fable of Psyche." The ceiling articulated heavily with corbels supporting a porch that opens into a series of windows on clear sky. At the center is painted the "Deification of Psyche." The state of preservation is poor with extensive loss of color and traces of moisture specially in the lower part of the walls. Attribution: Probably the Flemish Daniel van den Djckj (Anversa 1614 – Mantova 1670) for the frescoes - perhaps P.A. Torri for decorations.