Santa Giustina, martyred in Padua in 304, belonged to the ancient Vitaliani family, then merged into the Borromeo family at the beginning of the fifteenth century. Painted around 1470, the panel is therefore documented in Milan, in Palazzo Borromeo, in 1513. Then, for more than three centuries, its traces are lost until, at the end of the nineteenth century, it reappears in the Bagatti Valsecchi collection. In the meantime, even its author had been lost; in 1913 it will be the great art historian Bernard Berenson, who at first attributed the table to Alvise Vivarini, to name Giovanni Bellini, emphasizing the absorbed and statuary solemnity of the Saint, which is found in other contemporary works of the Master.

The double-headed eagle of the Habsburgs decorates this chest for foot corselet to refer to the prestigious commission of Emperor Matthias. In 1612, the year of his coronation, the emperor had commissioned a series of corsets to arm his guards characterized by the revival of sixteenth-century elements such as the cannellate workmanship, giving these pieces a deliberate revival. Depicting oneself in armaments of the past was in fact a widespread custom in the Habsburg family between the late Renaissance and the Baroque period.

This room owes its name to the ceiling decoration, inspired by the Renaissance one of the Room of the Labyrinth in the Ducal Palace of Mantua. Latin phrases accompany the path along the route, at the center of which stands the motto "SIC ITUR PER ANGUSTA AD AUGUSTA" (Thus one arrives through difficulties to sublime things). As in the rest of the house, these Latin sentences reaffirm the cultured re-enactment of the Renaissance carried out by the Bagatti Valsecchi brothers and are transformed into a refined decorative motif, always very accurate also from the epigraphic point of view.

This chalice is kept in the Dining Room and is part of the rich collection of Venetian glass by the Bagatti Valsecchi brothers.

The cup of this chalice, datable between the end of the seventeenth and the beginning of the eighteenth century, is in "ice" glass. This delicate process characterized by the rippled surface was obtained by subjecting the freshly blown glass to a sudden cooling and, therefore, still hot.

This terrestrial globe is characterized by being painted, although thanks to printing at the end of the sixteenth century, much cheaper techniques for making globes had spread. On North America the inscription "Terra incognita" stands out, while in China the representation of the Great Wall is the only monumental evidence of this very refined artifact.

The celestial globe is a pendant to the terrestrial globe and they are both exhibited in the Library. This too is painted and the different constellations are represented, each flanked by its own personification.

The inexorable passage of time is remembered with impressive evidence by this skull-shaped watch. The memento mori - literally "remember you must die" - is also reiterated by other artifacts in this same room, including the skull-shaped oil lamp on a bird's leg. This theme of ancient derivation was very dear to the art of the Renaissance: the insistent reference to the fleetingness of existence resulted in an implicit moral exhortation to live according to virtue.

This sixteenth-century bowl with lid belongs to a type of Venetian production characterized by the complete glazing of the surfaces, both external and internal. Due to its shape, the artifact refers to a large vase depicted by Andrea Mantegna in one of the canvases of the «Triumphs of Caesar» (kept in London, in the Royal Palace of Hampton Court) which became a source of inspiration for the goldsmiths of the next generation.