Though small in size, the hall displays Cerruti’s eclecticism in all its fullness and complexity. While the 18th-century-style decoration (continuing on the walls of the adjoining stairway) is typical of the taste of the wealthy local upper class – ably promoted by the Turinese antique dealer Pietro Accorsi – elements like the mirrored niche housing Valerio Castello’s Mosè fa scaturire l’acqua dalla roccia (Moses Striking Water from the Rock, c. 1655) create a contrast of eras and tastes. This can also be discerned in the juxtaposition of furniture and paintings, from the mid-18th-century Genoese console table supporting a Louis XV pendulum clock and the exquisite Rococo sofa with polychrome marquetry (whose twin is in the circular room on the same floor) up to Simone Cantarini’s large Lot e le sue figlie (Lot and his Daughters, c. 1637), Alfred Sisley’s glowing winter landscape (1881) and Cézanne’s La Fontaine (The Spring, c. 1876–78), the first work to greet Cerruti’s guests. This very small and precious rural scene was originally placed on the top of an elegant Louis XV table together with the guestbook which was signed by all of the visitors to the villa.