[5] Its symmetrical, tripartite plan, loggias, towers and interior layout refers to the royal residences dating back the 1620s and 1630s, including Ujazdów Castle and the Villa Regia.

1570–1659),[4][6] author of numerous works of sacred and secular architecture in Kraków, Łowicz, Warsaw, Bright Mountain as well as in the Holy Cross region.

The whole complex including the Collegiate Church,[4] cour d'honneur, palace, garden and tower was aligned with a Bernardine Monastery on Karczówka hill (established 1624–1628).

[7] One-storey wings were erected on both sides of the courtyard, one of them was connected by an indoor porch with the collegiate and a seminary of the Holy Trinity Church, funded by the bishop Konstanty Felicjan Szaniawski.

[5] The garden was embellished with French-style greenhouses, while large stables, coach houses, riding school, a granary and a brewery were erected in the palace complex.

This type of palace was known as Poggio–Reale because it combined a square building with a central loggia, with side towers as in Villa Poggio Reale near Naples (1487–1489) according to conception of Baldassare Peruzzi and Sebastiano Serlio.

[12] The palace in Kielce was built in accordance with "the principles of Italian symmetry" wrote Szymon Starowolski in his 1652 book Poland published in Gdańsk.

The main accent of the flat facade of the palace is the central loggia adorned with pillars of black marble, which correspond to the first floor windows of the great hall.

[5] The sides of the rectangular structure were finished with hexagonal towers covered with openwork helmets and connected with the main building by walls topped obelisks, with gates leading to the smaller courtyards.

The left side of the palace was occupied by podskarbi (treasurer), treasury, lockers and storage facilities, while the right was reserved for the marshal and starosta (mayor).

The upper parts of the walls are covered with a painted frieze, while the spaces between the windows are filled with 17th-century portraits of the Cracow bishops – Jakub Zadzik and his successor Piotr Gembicki, kings Sigismund III and Władysław IV and coat of arms (same as on the facade).

The lower row of 16 portraits from Jakub Zadzik to Karol Skórkowski (1830–1851) was painted by Aleksander Rycerski,[1] who in the years 1861–1863 carried out a refurbishment of the upper frieze.

[5] The rooms were adorned with carved, gilded frame ceilings filled with oil paintings, created in Kraków workshop of Tommaso Dolabella,[1] an Italian painter active in Poland since 1598,[5] who participated in the decoration of the Palazzo Ducale in Venice.

The framework Venetian ceilings, patterned after such in the Palazzo Ducale, appeared in Poland in the early 17th century initially in the interiors of royal residences (Wawel Castle).

[17] The ceiling in the antechamber located next to the bedroom-study is adorned with the Bishop Zadzik family crests (Korab, Jelita, Dołęga, Rola), the central painting of the plafond depicts the parliamentary scene The Judgment of the Arians in 1638 with portraits of king Władysław IV, bishop Zadzik, other dignitaries and a group of dissenters.

The symmetrical geometric parterres were enriched with rows of hornbeam with linden gazebos and dwarf fruit trees were planted (quince, cherries, apples).

The construction was completed in 1644, and the Chapel of the Assumption of the Blessed Virgin Mary sponsored by the starosta of Kielce – Stanisław Czechowski was erected.