[1] The project recalls the northern public buildings style, but it is assimilated with the typical Umbrian colours, white and pink, due to the use of local stones.

Arienti, who studied at the Academy of Fine Arts of Brera, for this work decided to use Lombard and neo-Bramante architectural forms, which were more appropriate for the spirit of the Risorgimento.

The first projects, presented in the contests of 1860 and 1863 by the local architects, recalled the “Roman style only for the purpose of the stylistic homogeneity with the pre-existent Palazzo Donini”.

[1] Considering the difficulty of building above the ruin of a centuries-old stratification -remember that the Palace's bases lie on the basement of the fort Paolino- the project presents interesting positive sides:[2] The facade is organized by means of horizontal lines that alternate two-tones areas of pink stone and white travertine.

The decoration of the insides was made between 1870 and 1875 and by a team of 6 local painters: Domenico Bruschi, Mariano Piervittori, Matteo Tassi, Giovanni Panti, Marzio Cherubini and Nicola Benvenuti.

The vault has above a circular loggia on top of which, in the centre, a big glass window, divided in 8 compartments with ornamental geometrical motif, by Francesco Moretti (1873).

The vault too is divided in 8 segments, in each quatrefoil frames Bruschi represented 8 female personification, reminding the allegories by Veronese in Palazzo Ducale, Venezia; for these reasons it was defined in “stile neo veneto” (neo-venetian style).

In the Sala del Consiglio, 4 busts of illustrious personalities of the Umbrian risorgimento (Cesare Fani, Luigi Pianciani, Zeffirino Faina, Francesco Guardabassi), a fifth one is dedicated to Benedetto Maramotti, prefectural guide of administration in the first period after the unity.

Finally the Sala delle riunioni della Deputazione Provinciale with decoration of Giovanni Panti, and other minor rooms painted a grottesche by Marzio Cherubini.