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The Third Interconnecting Study

The finish to the Third Interconnecting Study was designed by Vincenzo Brenna (1799). This small circular room was faced with artificial marble and adorned with inset paintings made in oil on blue glass (Johann Jakob Mettenleiter, 1798). Only several fragments of the frames are now preserved in the original. The ceiling has an architectural perspective, creating the effect of the continuation of the space beyond the boundaries of the ceiling. The illusory painted design was executed circa 1798 by Pietro Gonzaga and recreated in 1957 from photographs and the author's original sketch. The original furnishings of the room consisted of six stools and a sofa, upholstered with various fabrics and embroidered in silk. Two porcelain vases (Imperial Porcelain Factory, St Petersburg) with figures of satyrs (after a model by J. -D. Rachette, 1798) stood on pedestals by the walls. The vases are still here to this day. Three bronze black statuettes and two small porcelain vases stood on the mantelpiece.

Among the present furnishings, the most interesting items are the chairs bearing the mark of the famous French upholsterer L. Delanois (1770s) and the clock on the mantelpiece, which was made either by the world-famous playwright Caron (1732-1799) better known by his pseudonym of Pierre de Beaumarchais - or possibly by his father. There is also a mahogany bureau (David Roentgen, late 18th century) with the unglazed porcelain group The Three Graces (Meissen factory, Germany, 1785).

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