By virtue of the juxtaposition of works and the dialogue established between them, some rooms of the villa more than others appear to follow a precise iconographic program. Particular importance attaches in this sense to what should have been the collector’s bedroom, whose location at the top of the tower can be seen as a citation of De Chirico or a reference to Porta Palatina, the most metaphysical of Turinese buildings.

The walls are all lined with wood panelling in warm hues, apart from the alcove for the bed, which is upholstered with a bright green fabric that matches the curtains and counterpane. This room contains most of the gold-ground paintings and the earliest works in the collection by artists like Simone dei Crocifissi, Sassetta, Marco di Paolo Veneziano, Gherardo Starnina and Bergognone, whose three panels suggest the reconstruction of a magnificent lost triptych and occupy an entire wall. The birth of Christ, the Madonna and Child, the Crucifixion and the Lamentation of the dead Christ are persistently recurrent themes here, and the fact of their being gathered together in one specific room cannot fail to prompt reflections about birth and death, and especially about the bed and the bedroom as places where these events traditionally occur. The possible association between bed and deathbed, bedroom and burial chamber, suggests a view of this room as the threshold between two worlds and the place where Cerruti might have imagined ending his earthly life.