The key feature of the room is the many porcelains which are placed on mirrored corner shelves and on the ebony and walnut chest-of-drawers with elaborate gilt mounts. All of these porcelains are new, that is, they date to just before the painting was executed. One sees Chinese blue-and white from the Qing dynasty (1644-1911/12) interspersed with Japanese Imari and Kakiemon pieces of the same moment. On the rear wall of the room, over the chest, is a painting of a mythological scene (Diana and Endymion?). Three genre paintings are hung in the corner and across from the draped and shuttered window are seven paintings of ports (possibly of Naples – the Capodimonte seems to be depicted in a painting on the second register). All of the pictures are framed alike to harmonize with the gilt 'boisserie' and mirrors, the stuccoed and frescoed ceiling, and the orange and white marble tiled floor. Two allegorical figures (perhaps a female representation of civitas and a male depicting public felicity?) stand in classical niches on either side of the entry to the room.
It is not impossible to imagine that the present work may have been one of a series of paintings executed to record the whole of a recently decorated palace, and it is of extraordinary quality and interest for the history of interior decoration. Dr. Laura Laureati has suggested that the interior depicted probably depicts a room in the Palazzo Rinuccini, Florence. Zocchi was active as a frescoist in the Palazzo from the late 1750s until 1766, painting a series of mythological and classical scenes.
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