Today the facade of Palazzo Valmarana appears with a dark hue, due to the deposition on it of almost five centuries of smog and dust. At the time of the recent restoration it was decided with the Superintendency to preserve as it is the existing shade and then preserve the original marmorine, operating a conservative restoration such as dealing with frescoes, that is consolidating the parts that were peeling off and filling the empty spaces behind. It can therefore be affirmed that we are facing one of the few buildings that retain their original plaster and marmorine cladding. The stone parts have remained intact without any intervention whatsoever. The statues supporting the coats of arms in the two corners of the façade were skilfully restored by the sculptor Giordani in 1962/63, as were two vandalically destroyed panels. We must not forget the intervention carried out immediately after the war by the Superintendency led by the architect Forlati who reconstructed part of the attic, part of the facade towards the courtyard and the roof destroyed by an aerial bombardment in 1944. In 1962 then it was implemented , with the approval of the Superintendency (arch. Guiotto) the completion of the south façade of the courtyard. With this work two sides of the courtyard itself were perfected. The owner is waiting for over 40 years to be able to mirror the other two sides of the courtyard.
Starting from the cellars, at the time of the restoration in 1961/62, the cellars were emptied, which had never been freed from the soil coming from the excavation of the foundations, you can still see the line of mortar that descended between a table and another who armed the construction of faces.
The most striking intervention was the reconstruction of the floor of the noble floor, with the reproduction of terracotta tiles following the existing design. An octagon of the original floor, miraculously saved, was incorporated into a corner during reconstruction, while the earthenware and pesto floors were masterfully restored or redone. A floor worthy of particular interest is that of the studio of the Count, a particularly refined environment in all its details. It consists of terra cotta diamonds partly in light red part that repeat the shapes of the diamonds of the coat of arms of the Valmarana family. The floor of the largest room on the ground floor is instead in squares of white and red terracotta, for fear of wear it was covered with a plank.
The beams are almost all Sansovine, the simpler ones are with the tables above framed by small basins that bear the Valmarana coat of arms: gold diamonds in a blue field.
This different arrangement of floors corresponds to the position of the windows at the two ends, both on the ground floor and on the noble floor, the windows are smaller than in the rest of the facade. On the ground floor instead of the four high reliefs, there are the small windows of the mezzanine.
On the main floor, the windows of the external bays are the only ones to end with a triangular pediment.
The division of the floors takes place through a strongly articulated cornice, interrupted by the giant pillars, to which pilasters supporting the cornice are placed side by side.