The room, dominated by the large Murano glass chandelier, is adorned by the Indian canvases hanging on the walls, printed with flowering shoots brought to life by birds and by lanterns with an oriental flavour, recalling the taste for chinoiserie that was so fashionable in the 18th century.
To the right of the entrance is the Rococo-style drawing room, lacquered in green, gilded and decorated with minute floral motifs, of Venetian manufacture, to which the large console table on the opposite wall also belongs, surmounted by an intricate trophy crown with an eagle and arms.
The French window on the right leads to the upper level of the loggia that connects the palace to the chapel, allowing direct access to the place of worship.
Between the two windows, below the Portrait of Maria Josepha Countess Fuchs is a Rococo console table with a red marble top on which rests a large centrepiece in Meissen porcelain, pierced and decorated with painted and applied flowers.
In the corners next to the windows, the two 18th-century Venetian mirrors, engraved with allegorical depictions of the continents, complement the pair displayed on the mezzanine of the stairs.
The long-handled parasol umbrella, set inside an ancient stone capital, is the result of a reworking by Count Guglielmo, who had turned it into a lamp.
To the right of the door leading to the central hall, one can admire a Veneto-area chest of drawers, with a flap and two-door riser with mirrors, decorated in poor lacquer, counterbalanced on the opposite side by an elaborate late Baroque display case containing some precious 18th-century porcelain items.
Above the sofa, a Portrait of Maria Benigna de Montrichier is accompanied by that of her husband, Guidobaldo Cobenzl, positioned above the door leading to the next room.
