This delightful room, originally used for parties, balls and academic events, still has all the original, highly refined plaster decorations designed around 1764 by the architect E.A. Petitot and made by the plasterer Benigno Bossi.
The decorations over the doors at the upper ends of the short side are extremely impressive, with symbols of music, the theater, the arts and geometry, and the four pairs of cherubs that, at the corners between the walls and the ceiling, bear boughs of oak, alluding to royal power, and shields with Mercury's helmet, symbolizing in turn a reference to the prudence, diligence and glory of royal power.
On the inside are precious testimonies to the brief, tumultuous period in which Maria Luigia of Hapsburg was the bride of Napoleon Bonaparte and Empress of the French. Above all, the painting by R. Lefèvre (1812) that depicts a young Maria Luigia according to the strict canons of official portraiture, surrounded by the most significant emblems of imperial authority and power. Alongside this painting are two other important portraits by F. Gérard and P.P. Prud'hon (?), respectively depicting Napoleon Bonaparte and the King of Rome asleep (1811).
At the center of the hall stands the Corbeille de mariage probably designed by P.P. Prud'hon and made by P.P. Thomire and J.B.Odiot: this is a sumptuous piece of furniture meant to stand at the center of a room and hold jewelry and personal objects. It was a gift of the emperor to his young fiancé shortly before their marriage. The four tables contain relics and intimate memories of Napoleon, the Empress Maria Luigia and their son Napoleon Francesco, King of Rome. A large showcase holds a rich ceremonial costume with a long mantle embroidered in platinum, which belonged to Maria Luigia at the time in which she was duchess of Parma Piacenza and Guastalla (1816-1847).