The frescoes in the rooms on the second floor of the museum have been affected by the many changes in the use of the rooms, and only some of the vaulted ceilings retain their integrity. The frescoes have long been attributed to the Venetian painter Giulio Carpioni (1613- 1678), but recent studies hypothesize attribution to Pietro Antonio Torri, a Bolognese painter active in the Veneto region between 1658 and 1774. From a plan drawn up in 1801 and preserved in the Biblioteca Civica di Padova, it has been deduced that the main entrance was in the castle gardens and that the use of the spaces on the piano nobile was opposite to that of today.

The first room was the present Room 5, which had rich wall decoration and a fireplace between the windows. Within a painted architectural framework hung mock fresco paintings with mythological representations. The walls were covered with plaster at an unspecified time, and the existence of this fresco cycle was unknown until the early 21st century. In Room 4, the ceiling is decorated with a mock architectural quadrature with mock statues of putti and stone volutes at the corners. The panels in the first register depict scenes from Torquato Tasso’s Gerusalemme Liberata (1581). An oval with three winged cupids opens in the center of the vault. Room 2 was the main hall of the mansion and has a ceiling decorated with a mock architectural framework with the Mocenigo family coat of arms in the center and on the vault an open slash to the sky with a female figure seated on clouds with scroll, cornucopia, scales and square in her hands to represent the power of the Mocenigo family. The vault of Room 1 also has architectural decoration with mock panels and statues of mythological figures. In the center, there is an oval with two putti flying toward the sky.