On the site later occupied by the new 16th century (Cinquecento) palace, the Valmarana family possessed buildings right from the end of the 15th century (Quattrocento), which were progressively combined until they became the object of Palladio’s renovation. The planimetric irregularity of the internal spaces doubtless derives from the oblique orientation of the façade and of pre-existing walls. In this sense it becomes quite evident just how much the Olympian regularity of the palace illustrated in I quattro libri dell'architettura (1570) was the product of Palladio’s usual theoretical abstraction, especially since not only was the extension of the palace beyond the square courtyard never realised, but nor does it seem it was even intended by Leonardo Valmarana, who bought up neighbouring properties rather than continuing the construction of the family palace.