Similar to what was done in his residence at his hometown of Arezzo, the elderly artist and his collaborators, among them in particular Jacopo Zucchi, frescoed various rooms around 1572, of which the Sala Grande, on the main floor, is the only one that remains almost intact.

In 1677 the residence was visited by Francesco Cinelli who left an accurate description of both the frescoes and the other works of art preserved here at the time, including paintings and drawings by leading Renaissance artists Leonardo da Vinci, Ridolfo del Ghirlandaio, Fra Bartolomeo, Albrecht Dürer, Santi di Tito, Parmigianino and Paolo Veronese.

[2] The palace appears in the list drawn up in 1901 by the General Directorate of Antiquities and Fine Arts, as a monumental building to be considered national artistic heritage, and has been subject to architectural constraint since 1933.

The staircase with double straight ramp, the expansion of the access portal and the increase of one floor of the building on the street, an operation that further lengthened the façade after the 'redesign', almost certainly were carried out after the death of Vasari " (Marco Bini).

On the back wall there is a washed-out mural painting, with two allegorical figures next to a large, now worn coat of arms (which Walther Limburger interprets as referring to the Guidotti family), again attributable to the late 16th-century.

For them, Vasari summarized his idea of art by choosing thirteen artists, esteemed by him either for their role as precursors, or for the highest level of their work, or because they were decisive in his training: thus appear, from left to right, Cimabue, Giotto and Masaccio, then Raphael (presented as Imago Christi), Michelangelo, Leonardo da Vinci and Andrea del Sarto; followed on the north side by Donatello and Brunelleschi, and on the west by Perin del Vaga, Giulio Romano, Rosso Fiorentino and Francesco Salviati.