Crossing the corridor, we come to the room Siviero used as his bedroom. This has now been adapted for the display of his medal collection. Siviero was especially fond of this artistic genre, which linked modern expression to Renaissance tradition. He also commissioned from his sculptor friends, Giacomo Manzù and Antonio Berti the portraits of such well-known figures as Churchill, Eisenhower, De Gasperi and Benedetto Croce, who had made the return to Italy of the works of art stolen by the Nazis possible.
Of particular note is the central panel of a polyptych portraying the Crucifixion of Christ. This is a work of the highest quality which, with its Italian and French influences interwoven, finds counterparts in the Liguria and Piedmont schools of the 15th century. The two polyptych panels joined in a single frame and portraying St Gerolamus, St Augustine, St Peter and St Andrew, facing the central panel, show affinity of style with the Crucifixion and might be the original side panels.
Whilst the upper floor remains closed to the public, this room also houses a temporary exhibition of three beautiful portraits by Giorgio De Chirico. In the centre, the painter has depicted himself as a bullfighter in the Neo-Baroque style of the 1940s. On the left, the influence of Bellini and Giorgione shown in the portrait of a woman, probably Giorgio Castelfranco's servant Elide, highlight De Chirico's growing interest in the Neo-Renaissance typical of a "return to order" of the 1920s. On the right, a small self-portrait of the young De Chirico reveals, under the dark patina, a column that repeats the enigmatic atmosphere of the metaphysical period. In the spirit, dear to Siviero, of continuity between ancient and modern art, we note how the Etruscan cippus in black serpentine stone, on the table near to the door, emanates a mysterious, almost metaphysical suggestion.