The sumptuous furnishings in this room, embellished with green silk wall hangings and a spectacular forty-five-light crystal chandelier, can be traced back to different eras and origins.
Eighteenth-century, Rococo-style tall carved and gilded wooden mirrors flank the French windows, supporting an Oriental porcelain vase and a splendid nineteenth-century Rococo clock decorated with tortoiseshell and brass appliqués. Eighteenth-century forms and decorations are also echoed in the red and gold lacquer drawing room.
On either side of the door facing the staircase are two 17th-century Flemish cabinets, richly decorated with tortoiseshell and gilded bronze appliqués and, in the centre, a small scenic proscenium with mirrored walls.
On the one to the left of the door rests a 17th century document holder covered in painted and gilded leather, decorated with Moorish motifs. To the right of the door leading to the Venetian drawing room is a 17th-century Japanese cabinet in black lacquer and gold. The base on which it rests was obtained by superimposing two low benches constructed in Veneto, richly carved all over with putti and sea monsters.
Above the cabinet hangs the Portrait of Ludovico Rabatta, traditionally attributed together with the one on the opposite wall, depicting Countess Felicita Rabatta, to the Genoese painter Bernardo Strozzi (1581-1644), while on the other side of the door is the Portrait of Louis Durfort-Duras, Earl of Feversham by the English painter John Riley (1646-1691).
In the opposite corner stands a tall Austrian stove in blue and white majolica, featuring a 19th-century revival of Rococo motifs. On the other side of the door one can admire an extraordinary late 17th century desk, crafted by the Dutch cabinetmaker Michel Verbist and decorated with elaborate tortoiseshell and metal inlays. On the ceiling, we can see the remains of a pictorial decoration with plant volutes and festoons, probably dating back to the 19th century.
