On a floor plan from the planning phase of the Haus zum Kirschgarten, the designation "Chambre pour les doméstiques" is found for this room; it was thus a room for the domestics. Presumably, it was from here that they controlled the comings and goings in the carriage entrance, carried out a wide variety of tasks, received deliveries, and kept themselves available for errands. In the meantime, the room has lost this purposeful character: the precious stucco ceiling from around 1740 that now adorns it comes from the Haus zum Goldenen Löwen in the Aeschenvorstadt. When this building had to make way for the widening of the street in the mid-1950s, this stucco ceiling was transferred to the Haus zum Kirschgarten and the facade was rebuilt in St. Alban-Vorstadt.

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Tiled stove from the convent hall of the Muri monastery in Aargau
Muri AG, stove maker Michael Leontius Küchler, dated 1773
Faience with sharp fire painting
Inv. 1895.15.
The mighty blue and white tiled stove with stove seat has an ancient overall shape. Numerous tiles show fantasy landscapes, others depict concrete localities. Thus, in addition to three depictions of Muri itself, there are also depictions of possessions that the monastery owned in the canton of Thurgau: Eppishausen, Klingenberg and Sandegg. On further tiles one can see possessions of the monastery in the Neckar region. Representation did not take place in this tiled stove by choosing an elaborate and modern type of stove, but by depicting the monastery's own possessions and sphere of influence.

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Strasbourg tiled stove from the Reinacherhof, St. Johanns-Vorstadt 3
Strasbourg, stove factory François-Paul Acker (stove construction) and manufactory Paul Hannong (painting), around 1748-1753
Faience with onglaze painting; sandstone plate
Inv. 1971.316.
The tiled stove from the Reinacherhof in St. Johanns-Vorstadt is of great elegance. It owes this above all to the restrained use of color: the clear white of the surface is joined only by the purple hue of the painting, which is applied in very fine nuances (purple camaieu). The upper part of the tower is decorated with four busts of women as personifications of the seasons, below them one can see shepherd idylls and other images of rural life. The depictions follow contemporary French engravings after works by François Boucher, Nicolas Lancret and Joseph Parrocel.

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Strasbourg stoves in Basel
Basel merchant lords not only obtained their tableware in Strasbourg, but also ordered tile stoves there for their stately residences. There were indeed local stove makers in Basel, but they usually fulfilled less demanding orders. Those who wanted to decorate their homes with particularly precious stoves ordered them from stove-hafners in Zurich, Bern or Strasbourg. The Strasbourg tiled stoves from the Acker/Hannong workshop were by far the most precious and elaborate stoves. The tower stove with purple painting in this room was originally located in the Reinacherhof in the St. Johanns-Vorstadt in Basel.
The actual construction of the Strasbourg tiled stoves was carried out in the stove workshop of François-Paul Acker, the painting in the manufactory of his brother-in-law Paul Hannong

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Strasbourg faiences at princely courts
The outstanding technical and design quality of Strass-
burg products meant that they were also highly sought after outside the Upper Rhine region. Some German princes, such as the pomp-loving Elector Clemens August of Cologne and Margrave Ludwig Georg of Baden-Baden, ordered extensive table services in the 1750s
Dinner services. These were intended for their hunting lodges (Clemenswerth in Emsland, Brühl near Bonn and Favorite near Rastatt), in which
lived according to relaxed court protocol. Thus, the tables at the great hunting dinners were set with faience instead of porcelain tableware
An overwhelming feast for the eyes unfolded with tureens in the shape of vegetables and animals in natural size. In addition, there were show dishes that simulated bowls of fruit, olives or even dressed salads. In the 18th century, this game of surprise and illusion (trompe l'œil) was part of the multifaceted dining culture that was intended to impress, delight and entertain guests.