In the Knights' Hall, ornate stucco figures are perched high up beneath the ceiling. One of them symbolises 'wise rule'. The woman is depicted bearing a palm branch, a book and weapons. These attributes represent peace and victory, wisdom, as well as war and battle.

The small ceiling painting in the conference room (see above) was painted by Martino Altomonte in 1711. It depicts the young Alexander the Great in armour on his horse, accompanied by soldiers. With his commander's staff, he points toward the city of Alexandropolis, which he has just founded.

Prince-Archbishop Baron von Firmian was a great enthusiast of astronomy and timekeeping. Around 1730–1740, he commissioned the clockmaker Jakob Bentele to make this night clock. It was designed specifically for use at night: a candle or oil lamp was placed behind the clock. Its light cast shadows of the hands onto a dial made of French silk so that the time could be read in the dark. Beautiful, but a fire hazard! Today, the clock adorns the Antecamera, the antechamber and waiting room leading to the centre of power: the audience chamber.

This armchair in the audience chamber forms part of a luxurious set of seating that Prince-Archbishop Hieronymus Colloredo acquired in Paris around 1780. The highly sought-after cabinetmaker Henri Jacob crafted it in the classical style from gilded solid wood. The seat, backrest and armrests are upholstered. The pinkish-red woollen fabric is adorned with a pattern of large flowers. Parisian furniture of this kind was particularly sought after at European courts.

The oval portrait in the Retirade, the place of work and retreat, depicts Prince-Archbishop Franz Anton von Harrach. It was painted by the imperial court painter Frans van Stampart in Vienna in 1710. The Prince-Archbishop is depicted seated, in his characteristic red robes and white lace chasuble. Particularly striking is the fact that he is the first Prince-Archbishop of Salzburg to be shown wearing a fashionable wig.

Prince-Archbishop Harrach had a private chapel installed in the state bedroom. The altarpiece by Johann Michael Rottmayr, created around 1710, depicts, on the left, the mystical marriage of Saint Catherine to the Infant Jesus. Mary lovingly holds her son in her arms; next to her are Joseph and the young John the Baptist. Above them appear God the Father and the doce of the Holy Spirit. The vibrant colours create a striking effect even in a windowless room.

Under the prince-archbishop, the so-called Throne Room served as a reception and dining room for evening court banquets in a small circle. From 1816, when Salzburg became part of the Habsburg Empire, the room was used as an audience chamber for the Austrian emperors when they were staying in Salzburg.

A particular feature is the original Baroque wall hanging made of silk brocade: a dark red fabric of linen and silk, interwoven with silver threads. Cornucopias, leaves and flowers adorn the panels of fabric, forming an intricate, artistic pattern. The panels were attached to wooden slats that were nailed to the wall. A real rarity today!

The white-glazed, partly gilded ceremonial stove was commissioned between 1770 and 1780 for Prince-Archbishop Hieronymus Colloredo. The stove, which was heated from the rear side, is crowned at the top by a large urn from which flames arise.

The wall decorations in the so-called White Hall were commissioned by the last Prince-Archbishop, Hieronymus Colloredo, and carried out from 1781 onwards by the stucco artist Peter Pflauder. Ancient themes centred on Alexander the Great – such as the cutting of the Gordian Knot, as seen here – characterise the room. Structure, order and clarity reflect the new spirit of the Enlightenment and mark a departure from the opulent and Baroque style.