The room shows the canvas paintings of the XVIIth and XVIIIth century, most of which were originally part of the collection of the Neapolitan cardinal Tommaso Ruffo (1663-1753), papal legate in Ferrara and Bologna until 1738, and then gifted to the museum in 1919 by the senator Fabrizio Ruffo di Motta Bagnara.
The display starts with the Mystic Marriage of Saint Catherine of Siena by the Roman painter Ciro Ferri, pupil of Pietro da Cortona and continues with two canvases by Giuseppe Maria Crespi called "lo Spagnolo", David and Abigail and the Finding of Moses, representing a request for forgiveness and salvation by the Bolognese painter to the cardinal in order to obtain the release of two prisoners. The following paintings by Giulio Carpioni are a Bacchanal with drunken Silenus, recurring subject of the Renaissance Venetian painting, and Iris in the Cave of Hypnos, episode of the Metamorphosis by Ovid. Another masterpiece of the Ruffo collection is the Dance of the Nymphs by Donato Creti, pastoral idyllium typical of the Arcadia culture and the classicism of the Bolognese painting at the beginning of the XVIIIth century.
Inside the chapel, built in the half of the XVIth century, traces of frescoes has been found (ceiling with God the Father and Old Testament figures; right wall Flight into Egypt). Here there is the Bust of Innocence X Pamphilj (1644-55), painted terracotta by Alessandro Algardi, model of a series of portraits for the Pope. On the right the Portrait of Virginio Orsini's sons (1597), recently assigned to Tiberio Titi, portrait painter for the Medici in Florence. In the background the Bracciano lake is visible, in the countryside dominated by the Orsini family since the beginning of XVth century; on the children's belts and clothing sleeves are some inscriptions with their names and ages.
Follows the Wedding at Cana, by Francesco Solimena, pupil of Luca Giordano, that is composed on diagonal lines and reflects perfectly the Neapolitan Baroque painting; the wonderful Cleopatra by Carlo Maratta, exponent of the Roman classicism of the XVIIIth century, in which the Egyptian queen is idealized and dressed according to the contemporary canons of beauty; the Lamentation over the Dead Christ by Orazio Borgianni repeats the more famous composition by Mantegna, but updated in the Caravaggio style. The last canvas is Saint Peter crying by Guercino, that shows the apostle contrition after having betrayed Christ, a copy by the master or his workshop of the same subject preserved in the National Gallery of Scotland in Edinburgh.
In the room are also displayed the Baptism of Christ by Algardi, terracotta model, later gilded, acquired in 2004, that is now part of the large collection of the works by the Bolognese master in the museum. To an Algardi follower are attributed the three gilt-wood sculptures representing Christ, Saint Peter and Saint Paul.