In the birds-eye view of Parma engraved by Paolo Ponzoni in 1572, we can see that around the middle of the 16th century in the area where the building stands, there was a large complex with its façade on Via Cairoli and the side that occupied half of the current façade. In 1600 the residential part of the building was the east wing, which initially had two arcades: one on the wing toward the court and the other on the south wing opening on the entry. With the project for the new entry, the weight of the arcade on the east side was balanced by the addition of arcades on the south side, while the southern arcade was closed for reasons of symmetry. The courtyard initially consisted of an arcade with eleven arches supported by columns and pillars from which the stairway leading to the second floor departed. Today, there are still two Ionic columns, the structure of five arches and two of the pillars of the porch. The need for grandeur and false space was satisfied by constructing a second courtyard in line with the main one, and a backdrop in perspective by Ardenghi that still exists but has been hidden by a protective partition. With the new design of the floor plan, even the architecture of the times felt the need to adapt to this large space.

The entrance stairway, built in 1787, occupies the first place architecturally for its size and harmonious lines, and its neo-classical design provides a unique contrast, with the formal reception hall designed in 1787, by the French architect Etienne d'Antoine.

Thus it was the architect Angelo Rasori who built the new palace at the end of the 18th century. The front has a slightly protruding section at the center, like a pronao, and the front doorway is flanked by Doric columns.
The central part is topped with a railed gable decorated with many statues.
The entry has a rather ambiguous presentation, wavering between the characteristics of an exterior and those of an interior.