This is the upstairs ballroom. Reynolds wanted a circus motif so Menaboni gave him one. The red and white striped ceiling is actually canvas stretched up like a tent.
Here you can see the trapeze chandelier. The docent said it and the two monkey chandeliers on either side (one shown in next picture) were built by hand in the garage of the man who later founded Georgia's Lithonia Lighting.
In this photo, you can see one of the benches in the inglenook by the fireplace. The walls were painted with two figures on either side of the fireplace. One was this snake charmer (you can just almost see the weightlifter between her and the fireplace) who I've heard had the face of Reynolds' wife at the time.
Across the fireplace is this warrior. Beside him, (backing up another bench that you can't see in the picture) is a blank space. From oral history, it was a rather macabre skeleton. Reynolds was on a trip when the painting was going on, but when he returned there was a big scene. In the end, he had it painted over.
Menaboni may have been miffed or Reynolds may have fired him. Anyway, there's a space where a figure should be.
The huge room is delightful. You feel better just being in it. The space would have been great for children's parties, but evidently Reynolds hosted adult parties here, too.