In front of the Villa the Soranzo crest is visible. The remainder of the exterior decoration recalls Palladian architectural flavor. The triple opening of the lodge is underlined by a fake colonnade: large fluted columns with Corinthian capitals mark the prospects with the bottom of imitation ashlar, to build a “painted architecture” of great charm. Beyond the short staircase, flanked by statues of the eighteenth century, near the Bonazza style, depicting the four seasons, we come to the atrium that gives light to the central hall. The decoration is very diversified: cherubs, garlands of vegetables and fruits, birds, musical instruments and notes, and four figures of musicians. The two side doors are topped with fake windows. The Corner coat of arms is repeated in the north wall and remembers the history of the illustrious family. In fact it is deduced that the Villa can be dated to after 1564, the year of the transfer of the Bishop’s Hat to Giorgio Corner, as confirmed by a slab-tile dated 1578. The two lateral arms are of the Priuli and Soranzo families. Lovely are the ceiling decorations, framed in small vaults, lunettes and ovals, with musical angels and winged putti. Its ‘the “manner” of Veronese, which is found in the Villa Maser and the neighboring Soranza, designed by Sanmicheli, demolished in 1800, so they cannot exclude a partial intervention on his part. From the lodge you go to the salon. Here the effect of illusion is accentuated in the diagram boxes in which architectural counterpoint windows and open loggias of expansive landscapes prospectively focused on the diagonals. Of the two center panels, representing country scenes, unfortunately remain only sinopie, as the originals were torn during the second world war. The side panels represent Temperance, Fortitude, Prudence and Justice. In the overdoors there are monochrome figures of the four seasons, the Samaritan woman at the well, Susanna and the Elders. Accents mannerist, which recall Veronesians inventions, especially in open landscapes over the fake loggia’s balustrade, with figures of women in sumptuous drapery and close-ups of trees of heaven moved: real “trompe l’oeil”. Even the side rooms are entirely frescoed and have wooden Sansovino ceilings with beams originally painted. The east room, which is accessed from the hall, is the “music room”: musical instruments of all kinds, and notes between flowery festoons are elegant vertical friezes. The themes of Faith, Hope and Charity and, in the panels above, Magdalene and St. Jerome, complete the cycle. On the wall to the north a landscape framed by Ionic colonnades and east of a marble fireplace surmounted by the Virgin and Child. In the north room, another fireplace in Verona marble is inserted into an architectural decoration, with fake banners, armor, coats of arms and monochrome scenes of biblical character, cupids, grapevines. On the panel over the door the theme of the Deposition and, above fireplace, the Martyrdom of S. Giustina. The room on the right of the saloon, lights up fake windows, with landscapes of trees and animated by scenes of monochrome on rounds, softened with floral decorations, with the effect of wall hangings. The kitchen, built in the nineteenth century, and the staircase that rises to the mezzanine floor and attics intended to be a barn, once partially painted, complete the atmosphere. In an undefined period, the frescoed walls were covered with layers of lime and the premises divided. The current owners under the control of the Istituto Regionale delle Ville Venete and the Soprintendenza ai Monumenti conducted the restorations at different times.