From the Loredan foundation to the twentieth-century restoration — a continuity rare in the Serenissima's mainland estates.
The history of the villa begins in 1688, when the patrician Giovanni Loredan started construction of the residence in the countryside of Vascon, then part of the Marca Trevigiana. The Loredan family, one of the most ancient and influential of the Republic of Venice, counted three doges among its members: Leonardo (1501–1521), Pietro (1567–1570) and Francesco (1752–1762). This illustrious lineage gives the villa an aura of nobility that still defines its identity today.
Between the late seventeenth and the first decades of the eighteenth century, the brothers Antonio and Alvise Loredan completed and enriched the complex, giving it the harmonious form we know today. The severe, well-proportioned central body is flanked by two porticoed barchesse used for the services and agricultural life of the estate. The façade is marked by an elegant Ionic pronaos with four half-columns and a triangular pediment.
The piano nobile holds a double-height salone, frescoed entirely around 1720 by Gerolamo Brusaferro, a Venetian painter, and by Niccolò Bambini, a leading figure of lagoon painting, with quadratura painters likely from Emilia who authored the illusionistic stage settings. The cycle depicts episodes from Roman history and the Aeneid: The Rape of the Sabines, Aeneas Receives the Divine Arms, The Death of Turnus, Apollo and Flora. It is considered one of the most important examples of Baroque decoration in the Veneto.
Built in 1719, the oratory has a circular plan with a triple-apsed presbytery — a unicum in the early-eighteenth-century sacred architecture of the Veneto. Its position, detached from the villa and facing the road, underlines its joint public and private function.
In the nineteenth century the villa passed to the Valier, an ancient Venetian family, who held it until 1940. After a period of decline, in the post-war years the Perocco di Meduna family undertook a major conservation restoration that returned the complex to its architectural and landscape integrity.
The complex is set within an intact landscape: a historic garden, a park, the brolo and the spring waters that give rise to the river Mignagola. In the park stands a rare cycle of six allegorical statues attributed to Alvise Tagliapietra, a Baroque sculptor active not only in the lagoon but also in Dalmatia and Russia. The figures depict Prudence, Fortitude, Temperance, Justice, Victorious Command and Military Valour.
