7 Best Sights in The Veneto and Friuli–Venezia Giulia, Italy

Palladio's last, perhaps most spectacular work was begun in 1580 and completed in 1585, after his death, by Vincenzo Scamozzi (1552–1616). Based closely on the model of ancient Roman theaters, it represents an important development in theater and stage design and is noteworthy for its acoustics and the cunning use of perspective in Scamozzi's permanent backdrop. The anterooms are frescoed with images of important figures in Venetian history. One of the few Renaissance theaters still standing, it can be visited (with guided tours) during the day and is used for concerts, operas, and other performances.

Commissioned in 1556 as a suburban residence for Paolo Almerico, this beautiful Palladian villa is the purest expression of Palladio's architectural theory and aesthetic. More a villa-temple than a residence, it contradicts the rational utilitarianism of Renaissance architecture and demonstrates the priority Palladio gave to the architectural symbolism of celestial harmony over practical considerations. A visit to view the interior can be difficult to schedule—the villa remains privately owned, and visiting hours are limited and constantly change—but this is a worthwhile stop, if only to see how Palladio's harmonious arrangement of smallish interconnected rooms around a central domed space paid little attention to the practicalities of living. The interior decoration, mainly later Baroque stuccowork, contains some allegorical frescoes in the cupola by Palladio's contemporary, Alessandro Maganza.

Even without a peek inside, experiencing the exterior and the grounds is a must for any visit to Vicenza. The villa is a 20-minute walk from town or a cab (€12) or bus ride (No. 8) from Vicenza's Piazza Roma. Private tours are by appointment; see their website for the latest visiting details.

Inside this 17th- to 18th-century country house, named for the statues of dwarfs adorning the garden, is a series of frescoes executed in 1757 by Gianbattista Tiepolo depicting scenes from classical mythology, The Iliad, Tasso's Jerusalem Delivered, and Ariosto's Orlando furioso (The Frenzy of Orlando). They include his Sacrifice of Iphigenia, a major masterpiece of 18th-century painting. The neighboring foresteria (guesthouse) is also part of the museum; it contains frescoes showing 18th-century life at its most charming and scenes of chinoiserie popular in the 18th century, by Tiepolo's son Giandomenico (1727–1804). The garden dwarfs are probably taken from designs by Giandomenico. You can reach the villa on foot by following the same path that leads to Palladio's Villa La Rotonda.

Palladio executed this beautiful city palace for the Vicentine noble Montano Barbarano between 1570 and 1575. The noble patron, however, did not make things easy for Palladio; the architect had to incorporate at least two pre-existing medieval houses, with irregularly shaped rooms, into his classical, harmonious plan. It also had to support the great hall of the piano nobile (moving floor) above the fragile walls of the original medieval structure. The wonder of it is that this palazzo is one of Palladio's most harmonious constructions; the viewer has little indication that this is actually a transformation of a medieval structure. The palazzo also contains a museum dedicated to Palladio and is the seat of a center for Palladian studies.

This imposing Palladian palazzo (1550) would be worthy of a visit even if it didn't house Vicenza's Museo Civico. Because of the ample space surrounding the building, Palladio combined elements of an urban palazzo with those he used in his country villas. The museum's important Venetian holdings include significant paintings by Cima, Tiepolo, Piazetta, and Tintoretto, but its main attraction is an extensive collection of rarely found works by painters from the Vicenza area, among them Jacopo Bassano (1515–92) and the eccentric and innovative Francesco Maffei (1605–60), whose work foreshadowed important currents of Venetian painting of subsequent generations.

At the heart of Vicenza, this square contains the Palazzo della Ragione (1549), the project with which Palladio made his name by successfully modernizing a medieval building, grafting a graceful two-story exterior loggia onto the existing Gothic structure. Commonly known as Palladio's basilica, the palazzo served as a courthouse and public meeting hall (the original Roman meaning of the term basilica) and is now open only when it houses exhibits. The main point of interest, though, the loggia, is visible from the piazza. Take a look also at the Loggia del Capitaniato, opposite, which Palladio designed but never completed.

An exceptionally fine Baptism of Christ (1502), a work of Giovanni Bellini's maturity, hangs over the altar on the left, just in front of the transept of this church. Santa Corona also houses the elegantly simple Valmarana chapel, designed by Palladio.