This room, entirely decorated with frescoes, consists of a square architectonic space of small dimensions, characterised by perfectly preserved ornaments. The decorative layout echoes that of the neighbouring rooms and consists of elegant faux architectural frames, with doric columns marking a series of windows painted with landscape views, and that lie on a painted faux marble base surmounted by a rich frieze with metopes and festoons.
Two painted windows appear on each wall, the first of which shows a broad window with landscape background. The second frame instead, is frescoed above the door that leads to the other rooms of the villa and represents a small mixtilinear opening giving a glimpse of a false blue sky.
On the northern wall the fresco artist painted two gulfs characterised by ruins, recalling classic style boats called Venetian boats that were war ships used in the Mediterranean from the 16th century onwards. On the remaining walls there are two paintings of wood landscapes, where again ruins appear, and a church with evident medieval features. The passion for ruins in landscapes repeat the aesthetic taste diffused at the time of Bartolomeo III Arese who seemed to prefer the landscape of ruins, especially those of the ancient world, as a symbol of the transience of human projects, evidently referring to his personal and family history. The paintings in this hall are judged by historians as pleasant and worthy of attention. They conceal an iconographic itinerary still to be fully studied but the conclusion is that there is a reproposal of the Mausoleum of Halicarnassus. In regard to this, only on the east wall is found an ostentation of the theme of boats or ships, seen as the symbol “obsessively” repeated in the dramatic history of the Arese family. Here in fact, there is a contrast between the ships destroyed and ships able to face the storms: the first one goes toward a destroyed tower, symbol of human strength, while the second sails towards a religious building, symbol of faith and the certainty of the plan of divine salvation. In agreement with what was already marked out in the adjacent rooms, critiques also in this case, attributed the paintings to the fertile mix between Giovanni Ghisolfi (1623-1683) and the renowned Mariani dynasty of Lombard framework artists, who worked there towards the middle of the seventh decade of the 17th century.