The uniformity of taste that characterises the Accorsi setting, however, gives way to the variety of styles and to the extraordinary quality typical of the Cerruti Collection. On the rear wall, dominating the space, is a key work by Giuseppe Pellizza da Volpedo entitled Membra stanche (Weary Limbs, 1907), which could be interpreted as an echo of the collector’s childhood early in the 20th century, when his own family emigrated from Liguria to Piedmont. Opposite hangs a superb San Lorenzo (St Lawrence) by Jusepe de Ribera, dated to the 1640s. 

Three Renaissance majolica plates are displayed on the upper section of a roll-top secretary desk by Jean-François Leleu (1770s), which shares the wall space with a late 14th-century triptych by Agnolo Gaddi, a pair of architectural capriccios by Francesco Guardi (1770s) and two views of Venice by his son Giacomo (1790s). Louis XV and XVI ceramics and candlesticks, wooden and marble sculptures ranging from the 14th to 16th centuries, French and Italian furniture of the 18th century, a painting in oil on copper by Domenichino (c. 1605), a canvas by Simon Vouet (c. 1635), and an oil painting on cardboard by Gino Severini (1918) all demonstrate the extent to which Cerruti collected across categories and time periods, disrupting the traditional chronology of art history.