Far removed from the aristocratic taste of the other bedroom, it has a domestic character that attests to functional use rather than display. It appears in fact that Cerruti was in the habit during weekends of taking a quick afternoon nap on the bed of wrought iron rather than the precious one in his mother’s room or the more austere one in the tower bedroom.

While the furnishing is less grand than in the adjoining bedroom, it does include the most valuable piece in the entire furniture collection, namely the “Ashburton Cabinet” (c. 1770), a bureau by Pietro Piffetti named after the English family to whom it once belonged. The work occupies the wall facing the bed and reveals all of its highly elegant curves only to the person lying there, which suggests that Cerruti regarded it as something to be contemplated in solitude during private moments of relaxation.

The soothing atmosphere of the room is reflected in the choice of the paintings that adorn its walls, which are few and far more sedate than the glaring colours of the 20th-century avant-garde works in the adjacent bedroom. Five paintings of particular interest by Giorgio Morandi on the wall by the door enter into dialogue with works of the 17th and 18th century: a Madonna and Child (1622–23) by Bernardo Strozzi, a portrait of man (c. 1730) by Fra’ Galgario, two 17th-century still lifes with flowers of the Roman school, a landscape with waterfall (1723) attributed to Gaspar van Wittel, and a small Annunciation (first half of the 17th century), attributed by Federico Zeri to Orazio Gentileschi, but possibly realized by a follower of the painter. The small wall-mounted mirror (1781) in an important position to the right of the bed, is attributed to Giovanni Battista Galletti.