[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-villari-capodimonte":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":661},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":656,"matched_pages":657,"match_count":658,"two_pages":659,"show_text":660},14722,"Capodimonte","villari-capodimonte","\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F29\u002F0eea466693134f3506253d7d07fe60-281b03695c.pdf","Villari",252,"villari","12.7 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,421,425,429,433,437,441,445,449,453,457,461,465,469,473,477,481,485,489,493,497,501,505,509,513,517,521,525,529,533,537,541,545,549,553,557,561,565,569,573,577,581,585,589,593,597,601,605,609,613,617,621,625,629,633,637,641,645,649,653],{"image":7,"text":15,"number":16},"CAPODIMONTE\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.2.png","CAPODIMONTE\nO r i g i n i\nM a s c h e r e  d e l l a  C o m m e d i a  d e l l ’ A r t e\nL o v e\nF a m i l y\nC h i l d r e n\nA n g e l s\nA l l e g o r i e\nD r e a m s \nM y t h o s\nF e m i n i n i t y\nT r a d i t i o n s\nM e s t i e r i\nV e r s a i l l e\nB i s q u i t\nI l  M i t o  d i  B a c c o\nL a  f a b b r i c a  d e g l i  A n g e l i\nS t o r i a  d e l  C a p o d i m o n t e\nV i l l a r i  W o r d\nD e s i g n e d  b y  C E S A R E  a n d  S I LV I A  V I L L A R I\nTutti i nostri oggetti sono protetti da copyright\nA L L  R I G H T S  R E S E R V E D\nP R I N T E D  I N  I TA LY\nVILLARI srl - Via C. Battisti, 12 - 36020 Solagna ( VI)  Italy - Tel.  +39 0424  816057 \u002F 817563 - Fax +39 0424 817732     \nwww.villari.it    info@villari.it\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.3.png","5\nCESARE VILLARI\nVILLARI\nLa ditta VILLARI è stata fondata verso la fine degli anni \nsessanta. Sono proprio i due artisti Cesare e Silvia che in \nprima persona creano i modelli e i prototipi che vengono poi \nriprodotti fedelmente. Molte delle loro opere rappresentano \nalcuni degli esempi più belli al mondo di riproduzione del \nCapodimonte e proprio per questo li pongono a giusto titolo \ntra i più grandi interpreti dell’arte della Porcellana Italiana. \nLa qualità non è solamente una indiscutibile caratteristica \ndelle Porcellane VILLARI ma anche una costante ricerca \nsia nell’elaborazione che nella filosofia dell’azienda.\nÈ quindi da una costante ricerca che giorno per giorno \nnascono le loro opere ispirate non solo alla Porcellana \nCapodimonte, ma anche ad un certo gusto Barocco Italiano. \nOgni singola opera viene rifinita nei minimi particolari \ncon l’utilizzo di colori molto preziosi a base di oli speciali \nestratti dagli abeti e oli di lavanda. L’oro zecchino 24 \ncarati e il platino impreziosiscono ancor più questi oggetti, \nnon solo, ma alcune creazioni vengono ulteriormente \narricchite \ndall’applicazione \ndi \nCRYSTALLIZED™ \n- Swarovski Elements. Tutti gli oggetti Villari vengono \nfirmati dall’autore Cesare Villari a garanzia della loro\nautenticità e vengono punzonati con il marchio di fabbrica \nVILLARI impresso a fuoco su ogni pezzo e con la \n“N” di Capodimonte che sta a significare uno stile di \nporcellana \nartistica \nitaliana. \nOgni \nporcellana \nviene \naccompagnata dal Certificato di Origine, che ne garantisce \nprovenienza, artigianalità e autenticità del materiale.\nLe Porcellane VILLARI prodotte completamente in Italia, \nvengono esportate in tutto il mondo, si contraddistinguono per \nl’accuratezza nei particolari, la raffinatezza e rappresentano da \nsempre un prodotto di prestigio che potrà essere in ogni tempo \nammirato per la storia e la tradizione che in sé racchiudono.\n4\nVILLARI\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.4.png","Quando si evoca Villari, si pensa molto naturalmente \na questi oggetti di decoro  grazie ai quali i grandi \nmomenti del passato  ritornano alla moda. Da sempre \nVillari ha riprodotto ad alto livello oggetti  del XVIII \ne XIX secolo. Come nessuno la Villari ha creato la \nconversazione tra poeticità e bellezza delle forme. \nThe Villari brand name is a synonym for objets d´art that \nreconcile memories of a glorious past with contemporary \ntaste. The Villari family has a longstanding tradition in \nmanufacturing reproductions of the finest porcelain items of \nthe 18th and 19th century. Renowned for their design drawing \ninspiration from Baroque, Capodimonte and Neoclassic style,\n7\nVILLARI\n6\nVILLARI\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.5.png","CESARE VILLARI\nThe firm VILLARI was established in the late 1960s. \nCesare and Silvia themselves mould the models and \nprototypes, which are then faithfully reproduced by their \ntalented team.  Many of their works are Capodimonte \nreproductions - some of the finest in the world - and \nthis activity gives them a well deserved place among \nthe greatest exponents of the art of Italian Porcelain. \nQuality, too, is an undeniable feature of Porcellane \nVILLARI and a constant concern in the development \nand philosophy of the firm. These are the factors which \nlie behind the pieces they produce from day to day. \nTheir work is not inspired exclusively by Capodimonte \nPorcelain, but also by the Italian Baroque style. Where \nindividual pieces are concerned, it must be stressed \nthat every single figure is finished in the finest detail \nusing costly paints based on special oils extracted \nfrom fir trees and lavender. They are then enhanced \nwith 24-carats pure gold and platinum, and some pieces \nare further embellished by applying CRYSTALLIZED™ \n- Swarovski Elements, to give them a unique shine and \nelegance. All VILLARI items are signed by the artist, \nCesare Villari, as a guarantee of their authenticity, and \nbear the fire-impressed trademark VILLARI and the \nCapodimonte letter “N”, which denotes a particular style \nof Italian porcelain. Each item comes with a Certificate \nof Origin, which guarantees its provenance and that it is \nmade entirely by hand using authentic materials. Made \nin Italy and exported worldwide, Porcellane VILLARI \nitems are easily recognisable by their attention to detail \nand refinement. Prestigious artefacts, they will always \nbe admired for the history and tradition they embody.\n9\nVILLARI\nphoto by Giustino Chemello\n8\nVILLARI\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.6.png","CESARE VILLARI\nФирма ВИЛЛАРИ была основана в конце 60-ых годов. У ее истоков \nстояли два художника, Чезаре и Сильвия Виллари, которые до сих пор \nвозглавляют компанию и собственноручно изготовляют все модели и \nобразцы, тщательно воспроизводимые затем мастерами фирмы. Многие \nтворения Виллари принадлежат к числу лучших в мире репродукций \nтрадиционного стиля «Каподимонте», именно поэтому их создатели \nпо праву числятся среди самых искусных мастеров итальянского \nхудожественного фарфора. Высочайшее качество является неотъемлемой \nчертой продукции «Порчеллане Виллари», наряду с постоянным поиском \nновых решений, как творческих, так и производственных. В результате \nэтого непрерывного процесса разработки и поиска день за днем на фирме \nсоздаются изделия, навеянные лучшими образцами художественной \nтрадиции фарфора «Каподимонте», а также определенными элементами \nитальянского Барокко. Каждое индивидуальное изделие тщательно \nпрорабатывается \nво \nвсех \nдеталях \nс \nиспользованием \nценнейших \nкрасителей на основе специальных эфирных масел ели и лаванды. \nПредметы из фарфора отделываются 24-каратным золотом и платиной, \nчто придает им еще большую ценность. В некоторых случаях для \nукрашения фарфоровых изделий используются оригинальные кристаллы \nСваровски. На всех творениях Виллари стоит подпись автора Чезаре \nВиллари, служащая гарантией их подлинности, и наносится фабричный \nзнак «Порчеллане Виллари», который выжигается на каждом изделии \nнаряду с латинской буквой «N» - отличительным признаком итальянского \nхудожественного фарфора стиля «Каподимонте». Все изделия имеют \nсертификат, удостоверяющий их  происхождение и свидетельствующий \nо том, что они были изготовлены вручную с использованием подлинных \nматериалов. Продукция «Порчеллане Виллари» полностью производится \nв Италии и экспортируется по всему миру. Благодаря тщательности \nисполнения деталей и утонченности стиля, изделия Виллари заслужили \nсвою славу не просто как предметы роскоши и престижа, но и как \nуникальные творения, чья завораживающая красота неразрывно связана \nс историей и традицией и именно поэтому неподвластна времени.\n11\nVILLARI\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.7.png","CESARE VILLARI\n13\nVILLARI\nCESARE VILLARI\n12\nVILLARI\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.8.png","CESARE VILLARI\n14\nVILLARI\nCESARE VILLARI\nLa empresa VILLARI fue fundada hacia finales de los años \n60. Fueron los dos artistas Cesare y Silvia los que, en primera \npersona, crearon los modelos y prototipos que fueron después \nreproducidos fielmente. Muchas de sus obras representan \nalgunos de los ejemplos más hermosos de reprodución de \nlas porcelanas Capodimonte en el mundo y por esto se han \nganado un merecido lugar entre los máximos exponentes \ndel arte de la Porcelana Italiana. La calidad no es la única \nindiscutible característica de las Porcelanas VILLARI, \nsino también lo es una constante investigación tanto en la \nelaboración como en la filosofía de la empresa. Así pues, de \nconstantes estudios nacen día a día sus obras inspiradas \nno sólo en la Porcelana Capodimonte, sino también en un \ncierto gusto por el Barroco italiano. Cada obra individual \ntiene un acabado en todos sus detalles utilizando preciados \ncolores a base de aceites especiales extraídos de abetos y \naceites de lavanda. El oro de 24 quilates y el platino siguen \nembelleciendo estos artículos, además algunas creaciones \nson enriquecidas posteriormente con la aplicación de \nCRYSTALLIZEDTM – Swarovski Elements. Todos los artículos \nVillari son firmados por el autor Cesare Villari como garantía \nde su autenticidad y llevan la marca VILLARI punzonada en \ncada pieza y la “N” de Capodimonte, que se traduce en un \nestilo de porcelana artística italiana. Cada porcelana viene \nacompañada de su Certificado de Origen, el cual garantiza \nla proveniencia, artesanía y autenticidad del material. Las \nPorcelanas VILLARI, producidas en su totalidad en Italia, se \nexportan a todo el mundo, se distinguen por la precisión de \nsus detalles y su refinamiento y siempre han representado un \nproducto de prestigio que puede ser admirado en todas las \népocas por la historia y la tradición que encierran en ellas. \nVILLARI\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.9.png","NEL 1988 CESARE VILLARI HA REALIZZATO DUE OPERE COMMISSIONATEGLI DAL PIÙ \nNOTO ARTISTA AMERICANO DELLA POP ART JEFF KOONS:  “S. GIOVANNI BATTISTA” LIBERA \nINTERPRETAZIONE DEL S. GIOVANNINO DI LEONARDO DA VINCI IN QUATTRO COPIE.\nREADERS MAY BE INTERESTED TO KNOW THAT IN 1988 CESARE VILLARI PRODUCED TWO \nPIECES OF WORK MADE ENTIRELY OF PORCELAIN COMMISSIONED BY THE AMERICAN \nPOP ARTIST JEFF KOONS. ONE OF THESE COLOSSAL PIECES, MADE IN FOUR COPIES, \nREPRESENTS “S. JOHN THE BAPTIST”  A FREE INTERPRETATION OF LEONARDO DA \nVINCI’S  S. GIOVANNINO. \n17\nVILLARI\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.10.png","L’ALTRA LA BEN NOTA STATUA IN DIMENSIONE NATURALE “MICHAEL JACKSON AND \nBUBBLES” RITRAE MICHEAL JACKSON CON IL SUO PICCOLO SCIMPANZÈ IN BRACCIO \nDIPINTO INTERAMENTE IN  ORO ZECCHINO 24 CARATI. QUEST’ULTIMA IN 5 COPIE. \nIL 15 MAGGIO 2001 UNO DEI CINQUE ESEMPLARI RAFFIGURANTI “MICHAEL JACKSON \nAND BUBBLES” È STATO VENDUTO AD UN COLLEZIONISTA ANONIMO PER 5 MILIONI E \n615 MILA DOLLARI DA SOTHEBY’S - NEW YORK. QUESTE OPERE SONO STATE ESPOSTE \nIN VARI MUSEI DEL MONDO, COME IL GUGGENHEIM DI BILBAO, MONACO, COLONIA, \nBERLINO, GUGGENHEIM E IL MOMA DI NEW YORK. ATTUALMENTE UNO DEGLI ESEMPLARI \nSI TROVA ESPOSTO AL MOMA, MUSEO DI ARTE MODERNA DI SAN FRANCISCO (CA).\nTHE OTHER IS A LIFE-SIZE STATUE OF “MICHAEL JACKSON AND BUBBLES”, \nPAINTED ENTIRELY IN 24 CARATS GOLD, DEPICTING THE POPSINGER HOLDING \nHIS CHIMPANZEE.  FIVE COPIES WERE MADE OF THE LATTER AND, ON MAY \n15TH 2001 ONE COPY OF THIS WORK WAS SOLD BY SOTHEBY’S - NEW YORK TO \nAN ANONYMOUS ARTCOLLECTOR FOR 5,615,000 DOLLARS. THESE TWO WORKS \nHAVE BEEN EXHIBITED IN A NUMBER OF FAMOUS MUSEUMS, INCLUDING THE \nGUGGENHEIM MUSEUM OF BILBAO, MUSEUMS IN MUNICH, COLOGNE AND BERLIN, \nAND THE GUGGENHEIM AND THE MOMA IN NEW YORK. AT THE MOMENT ONE OF\nTHE MODELS IS EXIBITED AT THE MOMA SAN FRANCISCO MUSEUM OF MODERN ART (CA).\n19\nVILLARI\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.11.png","“JEFF KOONS PUPPY” 1998\n21\nVILLARI\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.12.png","The history of masks is as old as the history of men.\nWe can divide them into three categories: the ones \ncreated by a simple fancy dress, used for rituals and \nholy representations.The second was based on imitation \nof behaviour, used especially for Greek and Roman \ncomedies. The third kind of masks is the expression of \nthe inhabitants of a certain locality. The latter category \ngives rise to the protagonists of the “Commedia dell’Arte”. \nTespi is considered the creator of masks because, in the \nsixth century BC, he organized the first itinerant theatre \ncompany. The forerunner of the “Commedia dell’Arte” is \nan Atellan farce born in Greece in the fourth century BC, \nbased on a primitive sketch, the “Trica”, and embellished \nby the improvisations of the actors.Italy is considered \nthe birthplace of the masks because of the richness and \nvariety of characters created.The golden era of the “Italian \nComedy” was between the XVI and the XVIII century, when \nthe representations were proposed in all Europe.\nLa storia delle maschere è antica quanto la storia dell’uomo. \nPer semplicità possiamo dividerle in tre categorie: la prima \nè un semplice travestimento, usata generalmente per i \nriti e le rappresentazioni religiose. La seconda era basata \nsull’imitazione del carattere e impiegata per le commedie \ngreche e romane, mentre la terza è l’espressione degli \nabitanti di una certa località. Quest’ultima categoria dà \norigine ai protagonisti della “Commedia dell’Arte”. \nL’inventore, se così si può dire, delle maschere è Tespi, \nche nel VI secolo a.c. creò la prima compagnia teatrale \nitinerante. L’antesignana della “Commedia dell’Arte” è la \nfarsa atellana nata in Grecia nel IV secolo a.c., basata su \nun primordiale canovaccio, la “Trica”, e impreziosita dalle \nimprovvisazioni degli attori. L’Italia è considerata la patria \ndelle maschere per la ricchezza e la varietà di personaggi \ncreati. Il periodo d’oro della “Commedia italiana” è tra il \nXVI e il XVIII secolo, quando le rappresentazioni furono \nproposte in tutta Europa.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.13.png","717.2\nPantalone\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nPantalone è maschera ve-\nneziana, egli rappresenta \nora l’uomo avaro, metico-\nloso, libidinoso, ora l’uomo \nsemplice, pratico, ingan-\nnato spesso da tutti. L’ori-\ngine del nome Pantalone \nderiva dalla consuetudine \nche avevano i veneziani di \npiantare nelle loro terre di \nconquista il leone di San \nMarco, da ciò pianta-leone.\nPantalone is a venetian \nmask, he can represent a \nstingy, meticulous, lust-\nful man or the opposite, a \nsimple, practical man, of-\nten deceived by everyone. \nThe name comes from the \nvenetian habit of plan-\nting the Saint Marc’s  flag \ninto new conquered land.\n25\nCOMMEDIA DELL’ARTE\n24\nCOMMEDIA DELL’ARTE\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.14.png","718.2\nPulcinella\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nPulcinella è forse la masche-\nra più antica; scimunito, \ningordo, ladro, impertinen-\nte, ma anche insinuante, \nbuffone, astuto nell’arte di \npiacere ai grandi e di ren-\ndersi necessario. A Napoli il \nSan Carlino fù il regno di \nPulcinella, non c’era rap-\npresentazione in cui egli \nnon si esibisse e fu sempre \ndesiderato a voce di popolo. \nQuesto personaggio allegro, \npieno di malizia; credulone \npoltrone, ma amabile, era \nl’idolo della plebe e con le \nsue trovate, con le sue alzate \nd’ingegno, con il cambiar di \nsentimenti: ora le maledice \ne ora ama svisceratamen-\nte, ora imbroglia ed ora è il \npiù fidato amico, si può dire \nche rappresenta veramen-\nte il carattere d’un popolo.\nPulcinella is the oldest \nmask. He’s a silly gree-\ndy thief impertinent, but \nalso a shrcewd insinuative \nclown. Pulcinella has al-\nways performed in the San \nCarlino theatre, in Naples, \nwhere he was always acclai-\nmed by people. This cheer-\nful character, full of malice; \ngullible, but lovable, was the \nidol of the mob. And we can \nsay that he truly represents \nthe character of a people.\n27\nCOMMEDIA DELL’ARTE\n26\nCOMMEDIA DELL’ARTE\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.15.png","715.2\nCapitan Spavento\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nMaschera molto popolare fu \nanche il CAPITANO che, \ncon differenti nomi, ebbe \ngrande fortuna in Italia, in \nFrancia, in Spagna. Il ca-\npitano è sempre un tipo di \nfanfarone e vigliacco, pronto \na tirar di spada, ma pronto \na fuggire non appena vede \nil pericolo. Francesco An-\ndreini pistoiese, uomo colto, \nparlava sei lingue e suonava \nparecchi strumenti, fu un \nfamoso capitano col nome \ndi Capitan Spavento della \nvalle inferna, nella com-\npagnia dei Gelosi. Dopo la \nmorte della moglie Isabella, \ndonna letterata, personag-\ngio prezioso della Comme-\ndia dell’arte, ammirata an-\nche dal Tasso, si ritirò dalle \nscene e scrisse \u003C\u003C Le bravure \ndel Capitan Spavento >>.\nOne of the most popular \nmasks was the CAPTAIN \nwho with different names, \nbecame popular in Italy, in \nFrance and in Spain. The \ncaptain is a braggart and \ncoward, he is always rea-\ndy to fight with his sword, \nbut to run away when he \nfeels the danger. Francesco \nAndreini, from Pistoia, a \ncultivated man, spoke six \nlanguages and played dif-\nferent instruments, was a \nfamous captain with the \nname of Capitan Spavento.\n29\nCOMMEDIA DELL’ARTE\n28\nCOMMEDIA DELL’ARTE\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.16.png","712.2\nBallerina\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nLa ballerina è un personag-\ngio più consono all’opera che \nnon alla Commedia, ci si \nservì di questa figura negli \nintermezzi, ma certo non \npuò considerarsi maschera.\nThe dancer is more an opera \ncharacter than a Commedia \ncharacter, she was used du-\nring the intermezzo, but we \ncan’t consider her a mask.\nCOMMEDIA DELL’ARTE\nCOMMEDIA DELL’ARTE\n30\n31\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.17.png","711.2\nIsabella\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nIsabella è una delle inter-\npreti della parte amorosa, di \npastorella nella Commedia \ndell’Arte, chi la interpretò \nfurono, oltre che attrici, an-\nche letterate, facevano parte \ndelle compagnie dei comici \ne alcune, delle accademie \ndei letterati. In generale \nerano figlie o mogli di fa-\nmosi interpreti di maschere.\nIsabella is one the of in-\nterpreters of  amorous and \nsheperdess’ parts in the \nCommedia dell’Arte. This \npart was taken not only \nby actresses but also by \nwomen of letters who were \npart of the acting compa-\nnies and  of  the accademy \nof letters. In general they \nwere daughters or wives of \nfamous mask interpreters.\n33\nCOMMEDIA DELL’ARTE\n32\nCOMMEDIA DELL’ARTE\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.18.png","713.2\nSilvia\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nSilvia è una delle interpre-\nti della parte amorosa, di \npastorella nella Commedia \ndell’Arte, chi la interpretò \nfurono, oltre che attrici, an-\nche letterate, facevano parte \ndelle compagnie dei comici \ne alcune, delle accademie \ndei letterati. In generale \nerano figlie o mogli di fa-\nmosi interpreti di maschere.\nSilvia is one the of inter-\npreters of  amorous and \nsheperdess’ parts in the \nCommedia dell’Arte. This \npart was taken not only \nby actresses but also by \nwomen of letters who were \npart of the acting compa-\nnies and  of  the accademy \nof letters. In general they \nwere daughters or wives of \nfamous mask interpreters.\n35\nCOMMEDIA DELL’ARTE\n34\nCOMMEDIA DELL’ARTE\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.19.png","716.2\nPierrot\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nPierrot è una varietà di \nPulcinella, hanno in comu-\nne il costume bianco, porta-\nno la maschera e il viso in-\nfarinato. Pierrot è maschera \npiuttosto francese anche \nse di derivazione italiana.\nPierrot is a kind of Pulci-\nnella, they wear the same \nwhite costume, mask and \nwith a flour covered face. \nPierrot is a French mask \nbut with an Italian origin.\n37\nCOMMEDIA DELL’ARTE\n36\nCOMMEDIA DELL’ARTE\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.20.png","719.2\nArlecchino\ncm 26 h x 11 l\n101\u002F4 x 41\u002F4\nPorta una maschera fur-\nba e seducente, indossa un \ncostume fatto di pezzi di \nstoffa colorati cuciti insie-\nme, con un “batocio” – il suo \ntipico bastone - e una picco-\nla borsa appesi alla cintura. \nOriginario di Bergamo, è \nun servo povero, sempre tor-\nmentato dalla fame, e lotta \nper sopravvivere. La furbi-\nzia e l’ineguagliabile arte di \narrangiarsi sono le sue armi.\nHe wears an artful and \nseductive mask, a costu-\nme made of colored pie-\nces of cloth, with his typi-\ncal stick and a small bag. \nHe comes from Bergamo, \nhe’s a poor servant, al-\nways tormented by hun-\nger, struggling to survive. \nHis weapon is craftiness.\n39\nCOMMEDIA DELL’ARTE\n38\nCOMMEDIA DELL’ARTE\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.21.png","41\nCOMMEDIA DELL’ARTE\n714.2\nArlecchina\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\n40\nCOMMEDIA DELL’ARTE\nArlecchina è il tipo di ra-\ngazza \nmaliziosa, \nfurba, \nonesta, che sa quello che \nvuole. Le donne durante il \nMedio Evo furono bandite \ndai teatri, troviamo alcu-\nne donne saltuariamente \nnelle rappresentazioni dei \nMisteri, interpreti di pic-\ncole parti, spesso nel ruolo \ndi angelo, oppure fra i bo-\nhémiens che andavano di \npaese in paese, ma sul pal-\ncoscenico dovremo aspettare \nil Rinascimento per trova-\nre di questi personaggi che \npoi divennero anche famosi. \nEsse hanno il ruolo di ser-\nvette, di nipoti, di pupille. \nArlecchina a volte è moglie \ndi Arlecchino dal quale \nha preso anche il costume.\nArlecchina is a malicious, \nartful and honest girl. Du-\nring the Middle Ages the \nwomen were banned from \nthe theatre, occasionally we \nfind some women in repre-\nsentations of Mysteries, in-\nterpreters of small parts, of-\nten in the role of angels, or \namong the bohemians who \nwent from village to village, \nbut we have to wait for the \nRenaissance Age to find \nthese characters, who also \nbecame famous. They have \nthe role of maids, nieces. So-\nmetimes Arlecchina is har-\nlequin’s wife from whom she \nalso inherited the costume.\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.22.png","2760.2\nBrighella\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nBrighella è il compare di \nArlecchino. Non fa solo il \nservo come Arlecchino, ma \nun’infinità di altri mestie-\nri, più o meno leciti ed one-\nsti. Così si ritrova sempre in \nmezzo a svariati intrighi. \nÈ intrigante, molto furbo \ne senza scrupoli, è un tipo \nbugiardo, racconta frottole \ncon sicurezza e convinzio-\nne che è quasi impossibile \ndistinguerle dalla verità. \nInoltre è molto abile nel \ncantare, suonare e ballare.\nBrighella is a friend of \nHarlequin. He is not only a \nservant, like Harlequin, but \nhe does a lot of other profes-\nsions, more or less legitimate \nand honest, so he is always \nin trouble. He is charming, \nsmart and unscrupulous, \na persuasive liar that it is \nalmost impossible to distin-\nguish lies from the truth. \nHe is also a very good sin-\nger, player and dancer.\n43\nCOMMEDIA DELL’ARTE\n42\nCOMMEDIA DELL’ARTE\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.23.png","2762.2\nScapino\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nLo Scapino è una  “Ma-\nschera teatrale” maschera \ndella Commedia dell’Arte, \nderivata da Brighella, a \ncui rassomiglia. Rappre-\nsenta il servitore imbroglio-\nne, furbissimo e vigliacco: \nil nome di Scapino deriva \ninfatti dal verbo scappare, \ne indica l’abitudine costante \ndel personaggio a sceglie-\nre la fuga come soluzione \npiù semplice e sbrigativa \nin ogni caso di pericolo.\nScapino is a Commedia \ndell’Arte’s mask that comes \nfrom Brighella, to which it \nresembles. It represents the \ntrickster servant, very clea-\nver and cowardly his name \ncomes from the Italian verb \n“scappare”, to escape, and \nindicates the habit of the \ncharacter to choose escape \nas the easiest and faster \nway out in any emergency.\n45\nCOMMEDIA DELL’ARTE\n44\nCOMMEDIA DELL’ARTE\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.24.png","2761.2\nLa Cantatrice\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nPersonaggio di contorno \ndella  Commedia dell’Arte, \nveniva utilizzato più negli \nintervalli che durante la \nrappresentazione  vera  e \npropria.\nMarginal character of the \nCommedia dell’Arte, used \nmore  in the intermissions \nthan during the perfor-\nmance.\n47\nCOMMEDIA DELL’ARTE\n46\nCOMMEDIA DELL’ARTE\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.25.png","720.2\nLe Notaire\ncm 25 h x 11 l\n93\u002F4 x 41\u002F4\nIl \nnotaio \nrappresen-\nta il personaggio comico.\nE’ una maschera presun-\ntuosa, superba, amante di \nsproloqui, lunghe “prediche” \ncon citazioni in latino quasi \nsempre fuori posto: quando \ncomincia a parlare è quasi \nimpossibile interromperlo e \nquando viene chiamato in \ncausa sfoggia le sue dot-\nte “cognizioni” di latino. \nUna delle caratteristiche \ndel dottore è la sua obesità.\nThe notary is a comic cha-\nracter. He is presumptuous, \nhaughty, a lover of lengthy \n“sermons” with quotations \nin Latin almost always \nout of place. One of his \ncharacteristics is obesity.\n49\nCOMMEDIA DELL’ARTE\n48\nCOMMEDIA DELL’ARTE\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.26.png","In Progres\nBaloardo\nBeltrame\nCoraline\nLeandre\nTabarin\nFritellino\nCassandre\nGanduja\nScaramuccia\nBiscegliese\nFiorinetta\nCapitan Spezzafer\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.27.png","Giangurgolo\nLelio\nMenego\nMezzetin\nNarcisino\nOrazio\nPasquariello\nOttavio\nStenterello\nTartaglia\nTrivellino\nPeppe - Nappa\nL’Apothicaire\nIn Progres\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.28.png","2847.2\nGiochi di Corte\nCourt Life\ncm 30 h x 32 l\n113\u002F4 x 121\u002F2\n2848.2\nLampada Giochi di Corte\nCourt Life Lamp\ncm 55 h x 40 l\n211\u002F2 x 153\u002F4\n55\nCOMMEDIA DELL’ARTE\n54\nCOMMEDIA DELL’ARTE\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.29.png","2850.2\nLampada Carnevale a Venezia\nCarnival in Venice Lamp\ncm 55 h x 40 l\n211\u002F2 x 153\u002F4\n57\nCOMMEDIA DELL’ARTE\n56\nCOMMEDIA DELL’ARTE\n2849.2\nCarnevale a Venezia\nCarnival in Venice\ncm 30 h x 32 l\n113\u002F4 x 121\u002F2\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.30.png","2852.2\nLampada Arlecchino Innamorato\nHarlequine in Love Lamp\ncm 55 h x 40 l\n211\u002F2 x 153\u002F4\n59\nCOMMEDIA DELL’ARTE\n58\nCOMMEDIA DELL’ARTE\n2851.2\nArlecchino Innamorato\nHarlequine in Love\ncm 30 h x 32 l\n113\u002F4 x 121\u002F2\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.31.png","2202.2\nL’uovo di Isabella\n      Isabel’s egg\ncm 30 h x 13 l\n111\u002F2 x 51\u002F4\n2203.2\nL’uovo di Ballerina\nThe dancer’s egg\ncm 30 h x 13 l\n113\u002F4 x 51\u002F4\n2204.2\nL’uovo di Silvia\nSylvia’s egg\ncm 30 h x 13 l\n111\u002F2 x 51\u002F4\n2205.2\nL’uovo di Arlecchina\nHarlequin’s egg\ncm 30 h x 13 l\n113\u002F4 x 51\u002F4\n2203.2\nL’uovo della Ballerina\nThe dancer’s egg\n2204.2\nL’uovo di Silvia\nSylvia’s egg\n2205.2\nL’uovo di Arlecchina\nHarlequin’s egg\n2202.2\nL’uovo di Isabella\nIsabel’s egg\n61\nCOMMEDIA DELL’ARTE\n60\nCOMMEDIA DELL’ARTE\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.32.png","1086.2\nArcimboldo\ncm 41 h x 34 l\n161\u002F4 x 131\u002F4\n1086.2\nArcimboldo\nRealizzato per la Mostra “Effetto Arcimboldo”\nVenezia - Palazzo Grassi, 1987\nRealized for the “Effetto Arcimboldo” exhibition\nVenice - Palazzo Grassi, 1987\n63\nCOMMEDIA DELL’ARTE\n62\nCOMMEDIA DELL’ARTE\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.33.png","particolare\nT.00570.2\nSeconda Carezza a Venezia\nLove in Venice\nLOVE\nNel 1749 Giacomo Casanova incontrò Henriette\nche sarebbe stata forse il più grande amore della sua vita.\nIn 1749 Giacomo Casanova met Henriette \nwho was to be perhaps the greatest love of his life.\n64\nLOVE\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.34.png","T.00571.2\nRialto nel ‘700\nRialto in the 17 th century\ncm 29 h x 16 l\n111\u002F2 x 61\u002F4\nT.00570.2\nSeconda Carezza a Venezia\nLove in Venice\ncm 25 h x 34 l\n93\u002F4 x 131\u002F4\n67\nLOVE\n66\nLOVE\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.35.png","T.01332.2\nGiacomo Casanova\ncm 29 h x 15 l\n111\u002F2 x 53\u002F4\nparticolare\nT.01332.2\nGiacomo Casanova\n69\nLOVE\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.36.png","particolare\nT.01331.2\nHenriette\nT.01331.2\nHenriette\ncm 29 h x 15 l\n111\u002F2 x 53\u002F4\n70\nLOVE\nLOVE\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.37.png","T.01804.2\nCavaliere a Cavallo\nRider on horseback\nT.01803.2\nDama a Cavallo\nLady on horseback\nT.01803.2\nDama a Cavallo\nLady on horseback\ncm 36 h x 30 l\n141\u002F4 x 113\u002F4\nT.01804.2\nCavaliere a Cavallo\nRider on horseback\ncm 36 h x 30 l\n141\u002F4 x 113\u002F4\nparticolare\nT.01802.2\nI Cavalieri Imprudenti\nReckless Riders\n73\nLOVE\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.38.png","T.01803.2\nDama a Cavallo\nLady on horseback\ncm 36 h x 30 l\n141\u002F4 x 113\u002F4\nT.01568.2\nSposi a Venezia\nWedding in Venice\ncm 35 h x 32 l\n133\u002F4 x 121\u002F2\n75\nLOVE\n74\nLOVE\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.39.png","T.01802.2\nI Cavalieri Imprudenti\nReckless Riders\ncm 39 h x 42 l\n151\u002F4 x 161\u002F2\n77\nLOVE\n76\nLOVE\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.40.png","1430.2\nGli Sposi\nThe Wedding\ncm 14 h x 38 l\n51\u002F2 x 143\u002F4\n79\nLOVE\n78\nLOVE\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.41.png","T.01736.2\nMusicisti nel Tempo\nMusicians\ncm 50 h x 36 l\n193\u002F4 x 141\u002F4\nT.00552.2\nLa Prima Carezza\nLovers\ncm 20 h x 18 l\n73\u002F4 x 7’’\n81\nLOVE\n80\nLOVE\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.42.png","T.00549.2\nPaggetto\nPage boy\nT.00548.2\nDamigella\nDamsel\nT.00544.2\nIdillio\nRomance\ncm 16 h x 21 l\n61\u002F2 x 81\u002F2\nT.00548.2\nDamigella\nDamsel\ncm 18 h x 13 l\n7” x 51\u002F2\nT.00549.2\nPaggetto\nPage boy\ncm 18 h x 13 l\n7” x 51\u002F2\n83\nLOVE\n82\nLOVE\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.43.png","T.00665.2\nContadino\nPeasant\nT.00664.2\nContadina\nPeasant\nT.00533.2\nPastore con zaino\nShepherd with purse\nT.00530.2\nDamina con albero\nThe Lady and the tree\nT.00530.2\nDamina con albero\nThe Lady and the tree\ncm 23 h x 16 l\n9” x 61\u002F4\nT.00533.2\nPastore con zaino\nShepherd with purse\ncm 23 h x 16 l\n9” x 61\u002F4\nT.00664.2\nContadina\nPeasant\ncm 20 h x 11 l\n73\u002F4 x 41\u002F4\nT.00665.2\nContadino \nPeasant\ncm 20 h x 11 l\n73\u002F4 x 41\u002F4\n85\nLOVE\n84\nLOVE\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.44.png","T.00061.2\nLampada Damina\nLady Lamp\ncm 45 h x 30 l\n173\u002F4 x 113\u002F4\nT.00094.2\nLampada Pastore\nShepherd Lamp\ncm 45 h x 30 l\n173\u002F4 x 113\u002F4\nT.00061.2\nLampada Damina\nLady Lamp\nT.00094.2\nLampada Pastore\nShepherd Lamp\nT.00141.2\nLampada Violoncellista\nCellist Lamp\ncm 42 h x 30 l\n161\u002F2 x 113\u002F4\nT.00142.2\nLampada Violinista\nViolinist Lamp\ncm 42 h x 30 l\n161\u002F2 x 113\u002F4\nT.00141.2\nLampada Violoncellista\nCellist Lamp\nT.00142.2\nLampada Violinista\nViolinist Lamp\n87\nLOVE\n86\nLOVE\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.45.png","T.00057.2\nLampada Paggetto\nPage boy Lamp\ncm 45 h x 30 l\n173\u002F4 x 113\u002F4\nT.00058.2\nLampada Damigella\nDamsel Lamp\ncm 45 h x 30 l\n173\u002F4 x 113\u002F4\nT.00139.2\nLampada Contadino\nPeasant Lamp\ncm 42 h x 30 l\n161\u002F2 x 113\u002F4 \nT.00140.2\nLampada Contadina\nPeasant Lamp\ncm 42 h x 30 l\n161\u002F2 x 113\u002F4\nT.00058.2\nLampada Damigella\nDamsel Lamp\nT.00057.2\nLampada Paggetto\nPage boy Lamp\nT.00139.2\nLampada Contadina\nPeasant Lamp\nT.00140.2\nLampada Contadino\nPeasant Lamp\n89\nLOVE\n88\nLOVE\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.46.png","particolare\nT.01175.2\nEmma con la Mamma\nEmma and her mother\nFAMILY\n“L’amore non dà altro che se stesso e non prende niente se non da sè”\nGibran Khalil (1883-1931) scrittore e poeta libanese\n“Love gives nothing but it’s self and takes nothing if not from it’s self.\nGibran Khalil (1883-1931) Lebanese poet and writer\nFAMILY\n90\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.47.png","T.01088.2\nMamma con Bambino\nMother with her baby\nT.02231.2\nAlice con Bimbo\nAlice with her brother\nT.01088.2\nMamma con Bambino\nMother with her baby\ncm 30 h x 13 l\n113\u002F4 x 51\u002F4\nT.02231.2\nAlice con Bimbo\nAlice with her brother\ncm 14 h x 8 l\n51\u002F2 x 31\u002F4\nT.01175.2\nEmma con la Mamma\nEmma and her mother\ncm 26 h x 16 l\n101\u002F4 x 61\u002F4\n93\nFAMILY\n92\nFAMILY\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.48.png","T.00519.2\nLa Maternità\nMotherhood\ncm 27 h x 18 l\n101\u002F2 x 7\nparticolare\nT.00519.2\nLa Maternità\nMotherhood\n95\nFAMILY\nFAMILY\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.49.png","T.01471.2\nMaternità Felice\nJoyful mother\ncm 30 h x 22 l\n113\u002F4 x 83\u002F4\nT.02360.2\nJacqueline\ncm 22 h x 12 l\n81\u002F2 x 41\u002F2\nT.02361.2\nSofia\ncm 22 h x 12 l\n81\u002F2 x 41\u002F2\nT.02360.2\nJacqueline\nT.02361.2\nSofia\n97\nFAMILY\n96\nFAMILY\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.50.png","T.02233.2\nMaria Antonietta e Bebè\nMarie Antoinette and baby\ncm 20 h x 15 l\n73\u002F4 x 53\u002F4\nT.00613.2\nI Mendicanti\nThe beggars\ncm 19 h x 9 l\n71\u002F2 x 31\u002F2\nT.00613.2\nI Mendicanti\nThe beggars\nT.02233.2\nMaria Antonietta e Bebè\nMarie Antoinette and baby\nT.02315.2\nLa Mammina\nMammy\ncm 17 h x 10 l\n61\u002F2 x 33\u002F4\nT.02315.2\nLa Mammina\nMammy\nT.02315.2\nLa Mammina\nMammy\n99\nFAMILY\n98\nFAMILY\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.51.png","T.02359.2\nRanya\ncm 33 h x 18 l\n121\u002F2 x 7”\nT.02358.2\nGrace\ncm 33 h x 18 l\n121\u002F2 x 7”\n101\nFAMILY\n100\nFAMILY\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.52.png","T.02362.2\nCarol\ncm 32 h x 12 l\n121\u002F2 x 41\u002F2\nT.02362.2\nCarol\ncm 32 h x 12 l\n121\u002F2 x 41\u002F2\n103\nFAMILY\n102\nFAMILY\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.53.png","T.01472.2\nMaternità Fiorita\nMotherhood with flowers\ncm 26 h x 19 l\n101\u002F4 x 31\u002F2\nparticolare\nT.01472.2\nMaternità Fiorita\nMotherhood with flowers\n105\nFAMILY\nFAMILY\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.54.png","M.02017.2\nGrande Scatola Bolshoi\nBig Bolshoi Box\ncm 16 h x 20 l\n61\u002F4 x 73\u002F4\nM.02018.2\nScatola Bolshoi Petit\nSmall Bolshoi Box\ncm 13 h x 15 l\n51\u002F4 x 53\u002F4\nM.02017.2\nGrande Scatola Bolshoi\nBig Bolshoi Box\nM.02018.2\nScatola Bolshoi Petit\nSmall Bolshoi Box\n107\nFAMILY\n106\nFAMILY\n,2853.2\nCecilia con la mamma\nCecilia with Mammy\ncm 25 h x 16 l\n93\u002F4 x 91\u002F4\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.55.png","particolare\nT.01626.2\nIl Pozzo dei Desideri\nDesires’well\nCHILDREN\nQual è stato in silenzio il padre parla al figlio, e spesso ho trovato nel figlio il segreto svelato del padre.\nWhat was silence in the father speaks to the son, and often I found in the son the unveiled secret of the father.\nFriedrich Wilhem Nietzche “Così parlò Zaratustra”\nCHILDREN\n108\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.56.png","T.01612.2\nEmma\ncm 15 h x 10 l\n53\u002F4 x 33\u002F4\nT.01984.2\nAlice\ncm 8 h x 14 l\n31\u002F4 x 51\u002F2\nT.01612.2\nEmma\nT.01984.2\nAlice\nT.01626.2\nIl Pozzo dei Desideri\nDesires’well\ncm 33 h x 33 l\n123\u002F4 x 123\u002F4\n111\nCHILDREN\n110\nCHILDREN\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.57.png","T.02259.2\nCecilia\ncm 17 h x 13 l\n61\u002F2 x 51\u002F4\nT.02260.2\nLeone\ncm 16 h x 11 l\n61\u002F4 x 41\u002F4\nT.02260.2\nLeone\nT.02259.2\nCecilia\nT.01504.2\nIl mio Primo Cagnolino\nMy little dog\ncm 25 h x 21 l\n93\u002F4 x 83\u002F4\n113\nCHILDREN\n112\nCHILDREN\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.58.png","T.02377.2\nGretel\nT.02226.2\nLucia\ncm 13 h x 7 l\n51\u002F4 x 23\u002F4\nT.02227.2\nRenzo\ncm 13 h x 7 l\n51\u002F4 x 23\u002F4\nT.02377.2\nGretel\ncm 11 h x 6 l\n41\u002F4 x 21\u002F4\nT.02378.2\nHansel\ncm 12 h x 5 l\n43\u002F4 x 13\u002F4\nT.02379.2\nGiulietta\ncm 17 h x 11 l\n61\u002F2 x 41\u002F4\nT.02380.2\nRomeo\ncm 19 h x 9 l\n71\u002F2 x 31\u002F2\nT.02226.2\nLucia\nT.02380.2\nRomeo\nT.02227.2\nRenzo\nT.02378.2\nHansel\nT.02379.2\nGiulietta\nT.02164.2\nEmma con Fumi\nEmma and Fumi\ncm 16 h x 12 l\n61\u002F4 x 43\u002F4\nT.02165.2\nAlice in Primavera\nAlice in Spring\ncm 16 h x 12 l\n61\u002F4 x 43\u002F4\nT.02168.2\nAlice fiorita\nAlice with flowers\ncm 16 h x 12 l\n61\u002F4 x 43\u002F4\nT.02165.2\nAlice in Primavera\nAlice in Spring\nT.02164.2\nEmma con Fumi\nEmma and Fumi\nT.02168.2\nAlice fiorita\nAlice with flowers\n114\nCHILDREN\nCHILDREN\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.59.png","T.01850.2\nLa Fioraia\nThe Flower girl\ncm 20 h x 29 l\n73\u002F4 x 111\u002F2\nT.01851.2\nIl Fruttivendolo\nThe greengrocer\ncm 20 h x 29 l\n73\u002F4 x 111\u002F2\n117\nCHILDREN\n116\nCHILDREN\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.60.png","T.02214.2\nYuky sul cuscino\nYuky on the pillow\ncm 13 h x 9 l\n51\u002F4 x 31\u002F2\nT.02215.2\nTomoo sul cuscino\nTomoo on the pillow\ncm 12 h x 9 l\n43\u002F4 x 31\u002F2\nT.02216.2\nYuky\ncm 9 h x 7 l\n31\u002F2 x 23\u002F4\nT.02217.2\nTomoo\ncm 9 h x 7 l\n31\u002F2 x 23\u002F4\n2215.2\nTomoo sul cuscino\nTomoo on the pillow\nT.02215.2\nTomoo sul cuscino\nTomoo on the pillow\n2214.2\nYuky sul cuscino\nYuky on the pillow\n2217.2\nTomoo\nT.02217.2\nTomoo\n2216.2\nYuky\nT.02214.2\nYuky sul cuscino\nYuky on the pillow\nT.02216.2\nYuky\nT.01908.2\nGaia\ncm 15 h x 7 l\n53\u002F4 x 23\u002F4\nT.01909.2\nGiovanni\ncm 15 h x 7 l\n53\u002F4 x 23\u002F4\nT.01910.2\nAnita\ncm 15 h x 7 l\n53\u002F4 x 23\u002F4\nT.01911.2\nAlberto\ncm 15 h x 7 l\n53\u002F4 x 23\u002F4\nT.01908.2\nGaia\nT.01909.2\nGiovanni\nT.01910.2\nAnita\nT.01911.2\nAlberto\n119\nCHILDREN\n118\nCHILDREN\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.61.png","T.00668.2\nL’Amica Fedele\nFaithful friend\ncm 11 h x 9 l\n41\u002F4 x 31\u002F2\nT.00669.2\nL’Amico Fedele\nDevoted friend\ncm 11 h x 9 l\n41\u002F4 x 31\u002F2\nT.01348.2\nGinevra con triciclo\nGinevra and her tricycle\ncm 22 h x 14 l\n81\u002F2 x 51\u002F2\nT.01349.2\nJacopo con triciclo\nJacopo and his tricycle\ncm 22 h x 14 l\n81\u002F2 x 51\u002F2\nT.02130.2\nPippi\ncm 13 h x 16 l\n51\u002F4 x 61\u002F4\nT.02131.2\nMimì\ncm 14 h x 11 l\n51\u002F2 x 41\u002F4\nT.02132.2\nTittì\ncm 16 h x 11 l\n61\u002F4 x 41\u002F4\nT.02133.2\nToby\ncm 11 h x 19 l\n41\u002F4 x 71\u002F2\nT.02134.2\nTito\ncm 13 h x 9 l\n51\u002F4 x 31\u002F2\nT.02130.2\nPippi\nT.00668.2\nL’Amica Fedele\nFaithful friend\nT.00669.2\nL’Amico Fedele\nDevoted friend\nT.01349.2\nJacopo con triciclo\nJacopo and his tricycle\nT.01348.2\nGinevra con triciclo\nGinevra and her tricycle\nT.02131.2\nMimì\nT.02132.2\nTittì\nT.02133.2\nToby\nT.02134.2\nTito\n121\nCHILDREN\n120\nCHILDREN\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.62.png","T.02057.2\nAlice e il suo dondolo\n My rocking chair\nT.02059.2\nIl bagnetto del bassotto\nWashing my dog\nT.02058.2\nIl primo cavallo a dondolo\nMy rocking horse\nT.01983.2\nBambina con culla\nMy crib\nT.02006.2\nLa tata\nThe nanny\nT.02057.2\nAlice e il suo dondolo\nMy rocking chair\ncm 18 h x 16 l\n7” x 61\u002F4\nT.02058.2\nIl primo cavallo a dondolo\nMy rocking horse\ncm 18 h x 16 l\n7” x 61\u002F4\nT.02059.2\nIl bagnetto del bassotto\nWashing my dog\ncm 16 h x 16 l\n61\u002F4 x 61\u002F4\nT.01983.2\nBambina con culla\nMy crib\ncm 16 h x 14 l\n61\u002F4 x 51\u002F2\nT.02006.2\nLa tata\nThe nanny\ncm 23 h x 21 l\n9” x 81\u002F4\n123\nCHILDREN\n122\nCHILDREN\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.63.png","T.00287.2\nLampada Cecilia\nCecilia Lamp\nT.00285.2\nLampada Emma\nAlice Lamp\nT.00299.2\nLampada Leone\nLeone Lamp\nT.00286.2\nLampada Alice\nAlice Lamp\nT.00287.2\nLampada Cecilia\nCecilia Lamp\ncm 41 h x 20 l\n161\u002F4 x 73\u002F4\nT.00299.2\nLampada Leone\nLeone Lamp\ncm 41 h x 20 l\n161\u002F4 x 73\u002F4\nT.00285.2\nLampada Emma\n Emma Lamp\ncm 41 h x 20 l\n161\u002F4 x 73\u002F4\nT.00286.2\nLampada Alice\nAlice Lamp\ncm 41 h x 20 l\n161\u002F4 x 73\u002F4\n125\nCHILDREN\n124\nCHILDREN\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.64.png","ANGELS\nBuonanotte principe gentile,\ne voli d’angeli t’accompagnino cantando al tuo riposo...\nAmleto, atto quinto, scena seconda. William Shakespeare\n“Goodnight gentle prince,\nmay a flight of singing angels accompany your rest…”\nHamlet by William Shakespeare, 5 th act, 2 nd scene\n127\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.65.png","T.01560.2\nBaccanale\nBacchanal\ncm 46 h x 42 l\n181\u002F4 x 161\u002F2\nT.01725.2\nAllegoria di Angeli\nAngeles Allegory\ncm 50 h x 33 l\n191\u002F2 x 123\u002F4\n129\nANGELS\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.66.png","T.02246.6\nGran Trionfo Versailles\nTriumph in Versailles\ncm 58 h x 30 l\n221\u002F2 x 113\u002F2\nT.02249.6\nAngeli Versailles Vendemmia\nVersailles Angels grape harvest\ncm 52 h x 26 l\n201\u002F4 x 101\u002F4\nT.02246.6\nGran Trionfo Versailles\nTriumph in Versailles\nT.02249.6\nAngeli Versailles Vendemmia\nVersailles Angels grape harvest\nT.02248.6\nVersailles Fiorita\nVersailles with flowers\ncm 52 h x 26 l\n201\u002F4 x 101 \u002F4\n131\nANGELS\n130\nANGELS\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.67.png","T.02250.2\nL’Architettura\nArchitecture\ncm 37 h x 17 l\n14’’ x 61 \u002F2\nT.02251.2\nLa Musica\nMusic\ncm 32 h x 17 l\n121\u002F2 x 61 \u002F2\nT.02252.2\nLa Pittura\nPainting\ncm 32 h x 17 l\n121\u002F2 x 61 \u002F2\nT.02253.2\nLa Scultura\nSculpture\ncm 32 h x 17 l\n121\u002F2 x 61 \u002F2\nT.02250.2\nL’Architettura\nArchitecture\nT.02251.2\nLa Musica\nMusic\nT.02252.2\nLa Pittura\nPainting\nT.02253.2\nLa Scultura\nSculpture\nT.02254.2\nPrimavera Versailles\nVersailles Spring\ncm 32 h x 17 l\n121\u002F2 x 61 \u002F2\nT.02255.2\nEstate Versailles\nVersailles Summer\ncm 32 h x 17 l\n121\u002F2 x 61 \u002F2\nT.02256.2\nAutunno Versailles\nVersailles Autumn\ncm 37 h x 17 l\n14’’ x 61 \u002F2\nT.02257.2\nInverno Versailles\nVersailles Winter\ncm 32 h x 17 l\n121\u002F2 x 61 \u002F2\nT.02254.2\nPrimavera Versailles\nVersailles Spring\nT.02255.2\nEstate Versailles\nVersailles Summer \nT.02256.2\nAutunno Versailles\nVersailles Autumn\nT.02257.2\nInverno Versailles\nVersailles Winter\n133\nANGELS\n132\nANGELS\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.68.png","T.02010.2\nAngelo di Luce dx\nShiny Angel R\ncm 38 h x 16 l\n143\u002F4 x 61\u002F4\nT.02011.2\nAngelo di Luce sx\nShiny Angel L\ncm 38 h x 16 l\n143\u002F4 x 61\u002F4\nT.02011.2\nAngelo di Luce sx\nShiny Angel L\nT.02010.2\nAngelo di Luce dx\nShiny Angel R\nT.01642.2\nSpecchio nel Giardino\nMirror in the garden\ncm 45 h x 34 l\n173\u002F4 x 131 \u002F4\n135\nANGELS\n134\nANGELS\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.69.png","T.01801.2\nConcertino\nConcert\ncm 22 h x 28 l\n81\u002F2 x 11\nT.01800.2\nNuvola Fiorita\nCloud with flowers\ncm 22 h x 28 l\n81\u002F2 x 11\n137\nANGELS\n136\nANGELS\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.70.png","T.02061.2\nOrchestra Musicale\n Music orchestra\ncm 30 h x 33 l\n113\u002F4 x 123\u002F4\nT.02060.2\nOrchestra Fiorita\nFlowered orchestra\ncm 30 h x 33 l\n113\u002F4 x 123\u002F4\n139\nANGELS\n138\nANGELS\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.71.png","T.02287.2\nAngelo Custode dx\nAngel R\ncm 26 h x 13 l\n101\u002F4 x 5\nT.02288.2\nAngelo Custode sx\nAngel L\ncm 26 h x 13 l\n101\u002F4 x 5\n1956.2\nPutto Pietas\nLittle angel Pietas\ncm 13 h x 7 l\n91\u002F4 x 23\u002F4\n1967.2\nPutto Cupido\nLittle Cupid\ncm 14 h x 8 l\n51\u002F2 x 31\u002F4\n1967.2\nPutto Cupido\nLittle Cupid\n1956.2\nPutto Pietas\nLittle angel Pietas\nT.02287.2\nAngelo Custode dx\nAngel R\nT.02288.2\nAngelo Custode sx\nAngel L\nT.01844.2\nPutto Primavera\nSpring little angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\nT.01845.2\nPutto Estate\nSummer little angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\nT.01846.2\nPutto Autunno\nAutumn little angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\nT.01847.2\nPutto Inverno\nWinter little angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\nT.01844.2\nPutto Primavera\nSpring little angel\nT.01845.2\nPutto Estate\nSummer little angel\nT.01846.2\nPutto Autunno\nAutumn little angel\nT.01847.2\nPutto Inverno\nWinter little angel\n140\nANGELS\n141\nANGELS\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.72.png","T.01738.2\nGran Giardino Fiorito\nFlowered Garden\ncm 36 h x 50 l\n141\u002F4 x 191\u002F2\nT.01037.2\nCarro Fiorito\nFlowered cart\ncm 17 h x 28 l\n61\u002F2 x 11\nT.01878.6\nAlice Fiorita\nAlice with Flowers\ncm 18 h x 14 l\n7 x 51\u002F2\nT.01879.6\nLeone Fiorito\nLeone with Flowers\ncm 18 h x 14 l\n7 x 51\u002F2\nT.01037.2\nCarro Fiorito\nFlowered cart\nT.01879.6\nLeone Fiorito\nLeone with Flowers\nT.01878.6\nAlice Fiorita\nAlice with Flowers\n143\nANGELS\n142\nANGELS\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.73.png","T.01825.2\nAngelo Raffaele\nRaphael Angel\ncm 8 h x 4 l\n31\u002F4 x 61\u002F2\nT.01826.2\nAngelo Gabriele\nGabriel Angel\ncm 8 h x 4 l\n31\u002F4 x 61\u002F2\nT.02210.2\nPortasapone Angelo\nSoapdish Angel\ncm 10 h x 16 l\n33\u002F4 x 61\u002F4\nT.02211.2\nPortasapone Angelo\nSoapdish Angel\ncm 10 h x 16 l\n33\u002F4 x 61\u002F4\nT.02218.2\nAngelo Ventaglio\nAngel with fan\ncm 9 h x 12 l\n31\u002F2 x 43\u002F4\nT.02219.2\nAngelo Ventaglio\nAngel with fan\ncm 9 h x 12 l\n31\u002F2 x 43\u002F4\nT.02196.2\nSet Cigno Angelico\nAngelic Swan\nSet 6 pc\ncm 15 h x 16 l\n31\u002F4 x 61\u002F4\nT.02210.2\nPortasapone Angelo\nSoapdish Angel\nT.02211.2\nPortasapone Angelo\nSoapdish Angel\nT.02218.2\nAngelo Ventaglio\nAngel with fan\nT.02219.2\nAngelo Ventaglio\nAngel with fan\nT.01825.2\nAngelo Raffaele\nRaphael Angel\nT.01826.2\nAngelo Gabriele\nGabriel Angel\nT.02196.2\nSet Cigno Angelico\nAngelic Swan\nT.02289.2\nAngeli Imperiali Stagioni\nImperial Angels Season\ncm 25 h x 9 l\n93\u002F4 x 31\u002F2\nT.02289.2\nAngeli Imperiali Stagioni\nImperial Angels Season\n145\nANGELS\n144\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.74.png","T.01443.2 A\nGli Angeli Pescatori\nAngels Fishermen\ncm 29 h x 15 l\n111\u002F2 x 53\u002F4\nT.01443.2 B\nLa Vendemmia\nGrape harvest\ncm 29 h x 15 l\n111\u002F2 x 53\u002F4\nT.01443.2 B\nLa Vendemmia\nGrape harvest\nT.01443.2 A\nGli Angeli Pescatori\nAngels Fishermen\nT.02290.2\nAngelo Pietas Imperiale\nImperial Pietas Angel\ncm 20 h x 9 l\n73\u002F4 x 31\u002F2\nT.02419.2\nAngelo Cupido Imperiale\nImperial Cupid\ncm 20 h x 9 l\n73\u002F4 x 31\u002F2\n760.2\nSuonatori sul Cuscino\nPlayers on a pillow\nSet 4 pc\ncm 12 h x 8 l\n43\u002F4 x 31\u002F4\nT.02290.2\nAngelo Pietas Imperiale\nImperial Pietas Angel\nT.02419.2\nAngelo Cupido Imperiale\nImperial Cupid\n760.2\nSuonatori sul Cuscino\nPlayers on a pillow\n147\nANGELS\n146\nANGELS\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.75.png","2184.2\n4 Stagioni Vivaldi\nVivaldi’s 4 seasons\ncm 13 h x 8 l\n51\u002F4 x 31\u002F4\n512.2\nAngelo Sorpresa\nSurprised Angel\ncm 10 h x 6 l\n33\u002F4 x 21\u002F4\n513.2\nAngelo Sorpresa\nSurprised Angel\ncm 10 h x 6 l\n33\u002F4 x 21\u002F4\n587.2\nAngelo nel cuscino dx\nAngel on a pillow R\ncm 8 h x 4 l\n31\u002F4 x 11\u002F2\n588.2\nAngelo nel cuscino sx\nAngel on a pillow L\ncm 8 h x 4 l\n31\u002F4 x 11\u002F2\n2184.2\n4 Stagioni Vivaldi\nVivaldi’s 4 seasons\n512.2\nAngelo Sorpresa\nSurprised Angel\n513.2\nAngelo Sorpresa\nSurprised Angel\n587.2\nAngelo nel cuscino dx\nAngel on a pillow R\n588.2\nAngelo nel cuscino sx\nAngel on a pillow L\nT.02220.2\nI Pittori Stagioni\nSeasons Painters\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.02220.2\nI Pittori Stagioni\nSeasons Painters\n149\n149\n148\nANGELS\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.76.png","1173.2\nPutti Barocchi\nBaroque little angels\nSet 6 pc\ncm 10 h x 8 l\n33\u002F4 x 31\u002F4\n507.2\nQuattro Stagioni Mozart\nMozart’s 4 seasons\nSet 4 pc\ncm 12 h x 6 l\n43\u002F4 x 21\u002F4\n555.2\nQuattro Stagioni Puccini\nPuccini’s 4 seasons\nSet 4 pc\ncm 10 h x 5 l\n33\u002F4 x 13\u002F4\n507.2\nQuattro Stagioni Mozart\nMozart’s 4 seasons\n555.2\nQuattro Stagioni Puccini\nPuccini’s 4 seasons\n151\nANGELS\n150\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.77.png","T.00547.2\nStagioni Settecento\nSeasons in the 18th century\nSet 4 pc\ncm 26 h x 9 l\n101\u002F4 x 31\u002F2\nT.02185.2\nCabriolanti Fioriti\nRolling Angels with flawers\nSet 4 pc\ncm 6 h x 10 l\n21\u002F4 x 33\u002F4\nT.00547.2\nStagioni Settecento\nSeasons in the 18th century\nT.02185.2\nCabriolanti Fioriti\nRolling Angels with flawers\nT.02194.2\nArmonia in Fiore\nHarmony with flower\ncm 35 h x 22 l\n133\u002F4 x 81\u002F2\nT.02195.2\nArmonia in Vendemmia\nGrape harvesting Harmony\ncm 35 h x 22 l\n133\u002F4 x 81\u002F2\nT.02194.2\nArmonia in Fiore\nHarmony with flower\nT.02195.2\nArmonia in Vendemmia\nGrape harvesting Harmony\n153\nANGELS\n152\nANGELS\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.78.png","T.02244.2\nCocchio Paradiso Fiorito\nParadise Chariot\ncm 40 h x 30 l\n151\u002F2 x 113\u002F4\nT.02245.2\nCocchio Paradiso Vendemmia\nParadise Chariot with grapes\ncm 40 h x 30 l\n151\u002F2 x 113\u002F4\nT.02244.2\nCocchio Paradiso Fiorito\nParadise Chariot\nT.02245.2\nCocchio Paradiso Vendemmia\nParadise Chariot with grapes\nT.02030.2\nPrimavera Bizet\nBizet Spring\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\nT.02031.2\nEstate Bizet\nBizet Summer\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\nT.02032.2\nAutunno Bizet\nBizet Autumn\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\nT.02033.2\nInverno Bizet\nBizet Winter\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\nT.02030.2\nPrimavera Bizet\nBizet Spring\nT.02031.2\nEstate Bizet\nBizet Summer\nT.02033.2\nInverno Bizet\nBizet Winter\nT.02032.2\nAutunno Bizet\nBizet Autumn\n155\nANGELS\n154\nANGELS\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.79.png","T.00262.2\nLampada atlante scultore\nSculpture angel lamp\nT.00261.2\nLampada atlante pittore\nPainter angel lamp\nT.01975.2\nAutunno\nAutumn\nT.01974.2\nEstate\nSummer\nT.01976.2\nInverno\nWinter\nT.01973.2\nPrimavera\nSpring\nT.01973.2\nPrimavera\nSpring\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.01974.2\nEstate\nSummer\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.01975.2\nAutunno\nAutumn\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.01976.2\nInverno\nWinter\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.00261.2\nLampada atlante pittore\nPainter angel lamp\ncm 40 h x 20 l\n153\u002F4 x 73\u002F4\nT.00262.2\nLampada atlante scultore\nSculpture angel lamp\ncm 40 h x 20 l\n153\u002F4 x 73\u002F4\n157\nANGELS\n156\nANGELS\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.80.png","T.00251.2\nLampada Angelo Fiorito\nFlowered Angel Lamp\ncm 51 h x 30 l\n20” x 113\u002F4\nT.00252.2\nLampada Angelo con Uva\nAngel with grapes Lamp\ncm 51 h x 30 l\n20” x 113\u002F4\n159\nANGELS\n158\nANGELS\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.81.png","particolare\nT.01766.2\nAllegoria della Primavera e Angeli\nAllegory of spring and angels\nALLEGORIE\nLe allegorie rappresentano idee e concetti con raffigurazioni particolari.\nQuesti simboli hanno per molti secoli ispirato l’arte occidentale.\nAllegories represent ideas and concepts with particular figurations.\nThese symbols have for many centuries inspired western art.\nALLEGORIE\n160\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.82.png","T.01705.2\nCarro di Dionisio e Angeli\nDionysus and angels cart\ncm 18 h x 24 l\n7’’ x 91\u002F2\nT.01706.2\nCarro di Dionisio\nDionysus cart\ncm 18 h x 24 l\n7’’ x 91\u002F2\nT.01705.2\nCarro di Dionisio e Angeli\nDionysus and angels cart\nT.01706.2\nCarro di Dionisio\nDionysus cart\nT.01766.2\nAllegoria della Primavera e Angeli\nAllegory of spring and angels\ncm 27 h x 30 l\n101\u002F2 x 113\u002F4\nT.01767.2\nAllegoria della Primavera\nAllegory of spring\ncm 27 h x 30 l\n101\u002F2 x 113\u002F4\nT.01766.2\nAllegoria della Primavera e Angeli\nAllegory of spring and angels\nT.01767.2\nAllegoria della Primavera\nAllegory of spring\n163\nALLEGORIE\n162\nALLEGORIE\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.83.png","T.01734.2\nSogno Fiorito\nFlowered dream\ncm 45 h x 34 l\n171\u002F2 x 131\u002F4\nT.02108.2\nArmonia di Putti\nLittle angels Harmony\ncm 44 h x 30 l\n171\u002F4 x 113\u002F4\n165\nALLEGORIE\n164\nALLEGORIE\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.84.png","T.01933.2\nDanza di Primavera\nSpring dance\ncm 47 h x45 l\n181\u002F2 x 173\u002F4\nT.02062.2\nBaccanale\nBacchanal\ncm 31 h x 30 l\n121\u002F4 x 113\u002F4\nT.02063.2 A\nBacco Triste\nSad Bacchus\ncm 17 h x 13 l\n61\u002F2 x 51\u002F4\nT.02063.2 B\nBacco Felice\nHappy Bacchus\ncm 17 h x 13 l\n61\u002F2 x 51\u002F4\nT.02063.2 A\nBacco Triste\nSad Bacchus\nT.02062.2\nBaccanale\nBacchanal\nT.02063.2 B\nBacco Felice\nHappy Bacchus\n167\nALLEGORIE\n166\nALLEGORIE\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.85.png","T.02265.2\nTempo delle Rose\nTime of roses\ncm 27 h x 25 l\n101\u002F2 x 93\u002F4\nT.02266.2\nAllegoria del Tempo\nTime Allegory\ncm 21 h x 19 l\n81\u002F2 x 71\u002F2\nT.02265.2\nTempo delle Rose\nTime of roses\nT.02266.2\nAllegoria del Tempo\nTime Allegory\nT.01464.2 A\nBugia Angelo Gabriele\nGabriel Angel Candle\ncm 19 h x 11 l\n71\u002F2 x 41\u002F2\nT.01464.2 B\nBugia Angelo Raffaele\nRaphael Angel Candle\ncm 19 h x 11 l\n71\u002F2 x 41\u002F2\nT.01446.2\nIl Tempo che Passa\nPassing time\ncm 17 h x 23 l\n61\u002F4 x 9\nT.01446.2\nIl Tempo che Passa\nPassing time\nT.01464.2 A\nBugia Angelo Gabriele\nGabriel Angel Candle\nT.01464.2 B\nBugia Angelo Raffaele\nRaphael Angel Candle\n169\nALLEGORIE\n168\nALLEGORIE\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.86.png","T.01737.2\nOrologio Versailles\nVersailles clock\ncm 50 h x 36 l\n193\u002F4 x 141\u002F4\nT.01132.2\nOrologio in Giardino\nGarden clock\ncm 18 h x 14 l\n7 x 51\u002F2\nT.01133.2\nOrologio Mignon\nLittle clock\ncm 14 h x 10 l\n51\u002F2 x 33\u002F4\nT.01132.2\nOrologio in Giardino\nGarden clock\nT.01133.2\nOrologio Mignon\nLittle clock\n171\nALLEGORIE\n170\nALLEGORIE\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.87.png","T.01783.6\nCarro Fiorito\nFlowered cart\ncm 23 h x 30 l\n9 x 113\u002F4\nIl giardino è simbolo del Paradiso Celeste, dell’Eden.\nLa rosa, di tutti i fiori, per la sua bellezza ed il suo profumo è quella che ha assunto più significati simbolici.\n“The garden is the symbol of Paradise, of Eden.\nThe rose, among all the flowers, for its beauty and its perfume is the one that has more symbolic meaning.”\n173\nALLEGORIE\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.88.png","T.01784.6\nCarro della Vendemmia\nGrapes cart\ncm 23 h x 30 l\n9 x 113\u002F4\nALLEGORIE\n174\nALLEGORIE\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.89.png","T.01754.2\nCuffia Fiorita\nFlowered bag\ncm 21 h x 30 l\n81\u002F4 x 113\u002F4\nT.01783.2\nRaccolta di Fiori\nFlower harvest\ncm 23 h x 30 l\n9 x 113\u002F4\nT.01784.2\nRaccolta d’Uva\nGrapes harvest\ncm 23 h x 30 l\n9 x 113\u002F4\nT.01783.2\nRaccolta di Fiori\nFlower harvest\nT.01784.2\nRaccolta d’Uva\nGrapes harvest\n177\nALLEGORIE\n176\nALLEGORIE\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.90.png","T.02153.2\nGrande Angelo dx\nBig Angel R\ncm 63 h x 42 l\n283\u002F4 x 161\u002F2\nT.02154.2\nGrande Angelo sx\nBig Angel L\ncm 63 h x 42 l\n283\u002F4 x 161\u002F2\nT.02153.2\nGrande Angelo dx\nBig Angel R\nT.02154.2\nGrande Angelo sx\nBig Angel L\nT.01572.2\nFontana Fiorita\nFlowered Fountain\ncm 41 h x 31 l\n161\u002F4 x 121\u002F4\n179\nALLEGORIE\n178\nALLEGORIE\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.91.png","T.02153.6\nGrande Angelo Fiorito dx\nBig Flowered R\ncm 63 h x 42 l\n283\u002F4 x 161\u002F2\nT.02154.6\nGrande Angelo Fiorito sx\nBig Flowered L\ncm 63 h x 42 l\n283\u002F4 x 161\u002F2\n181\nALLEGORIE\n180\nALLEGORIE\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.92.png","846.2\nFrà\ncm 8 h x 6 l\n31\u002F4 x 21\u002F4\n847.2\nFrè\ncm 8 h x 6 l\n31\u002F4 x 21\u002F4\n848.2\nFrì\ncm 8 h x 6 l\n31\u002F4 x 21\u002F4\n849.2\nFrò\ncm 8 h x 6 l\n31\u002F4 x 21\u002F4\n848.2\nFrì\n849.2\nFrò\n846.2\nFrà\n847.2\nFrè\nDREAMS\nArtista è colui che intorno a sè scorge la vita nelle cose inanimate trasformandole in muse...\nè colui che vede il sole nonostante la pioggia e la pioggia nonostante il sole...\nCercasi Amore Disperatamente (Federico Bosco)\n“An artist is he who sees life in lifeless things around and transforms them into muses...\nIs he who sees the sun not with standing the rain and rain not with standing the sun...” \nFederico Bosco - Searching for Love Desperately\n183\nDREAMS\n182\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.93.png","1375.2\nClown Capriolanti\nRolling Clowns\nset 4 pcs\n1375.2\nClown Capriolanti\nRolling Clowns\nset 4 pcs\ncm 8 h x 8 l\n31\u002F4 x 31\u002F4\n185\nDREAMS\n184\nDREAMS\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.94.png","T.01645.2\nClown Giocosi\nPlayful Clowns\nset 4 pcs\ncm 17 h x 9 l\n61\u002F2 x 31\u002F2\n836.2\nClown Pancione\nChubby Clown\ncm 28 h x 14 l\n11 x 51\u002F2\n837.2\nClown Ciocco\nAccordion Clown\ncm 28 h x 14 l\n11 x 51\u002F2\n838.2\nClown Scherzetto\nJoke Clown\ncm 28 h x 14 l\n11 x 51\u002F2\n839.2\nClown Giocoso\nPlayful Clown\ncm 28 h x 14 l\n11 x 51\u002F2\n836.2\nClown Pancione\nChubby Clown\n837.2\nClown Ciocco\nAccordion Clown\n838.2\nClown Scherzetto\nJoke Clown\n839.2\nClown Giocoso\nPlayful Clown\n187\nDREAMS\n186\nDREAMS\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.95.png","1550.2\nAlbero di natale\nChristmas tree\n1550.2\nAlbero di natale\nChristmas tree\ncm 19 h x 15 l\n71\u002F2 x 53\u002F4\n624.2\nPupazzo di neve\nSnowman\ncm 13 h x 7 l\n51\u002F2 x 23\u002F4\n1548.2\nBabbo Natale\nSanta Claus\ncm 23 h x 12 l\n9”x 43\u002F4\n624.2\nPupazzo di neve\nSnowman\n189\nDREAMS\n188\nDREAMS\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.96.png","554.2\nCappuccetto rosso\nLittle Red Riding Hood\ncm 20 h x 15 l\n73\u002F4 x 53\u002F4\n800.2\nPinocchio\ncm 7 h x 4 l\n23\u002F4 x 11\u002F2\n191\nDREAMS\n190\nDREAMS\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.97.png","T.01988.02\nLa Notte di Natale\nChristmas Eve\ncm 21 h x 30 l\n81\u002F4 x 113\u002F4\nT.01602.02\nPiccolo  Sciatore\nLittle Skier\ncm 33 h x 33 l\n123\u002F4 x 123\u002F4\n193\nDREAMS\n192\nDREAMS\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.98.png","T.01089.02\nPasseggiata con la mamma\nWalking with mom\ncm 30 h x 30 l\n113\u002F4 x 113\u002F4\n195\nDREAMS\n194\nDREAMS\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.99.png","T.01337.2\nBallerina Carla\nCarla dancer \nT.01338.2\nBallerina Corina\nCorina dancer\nT.01336.2\nBallerina Michelle\nMichelle Dancer\nT.01834.2\nBallerina Maya\nMaya dancer\nT.01833.2\nBallerina Tahia\nTahia dancer\nT.02341.2\nDon\ncm 16 h x 8 l\n61\u002F4 x 31\u002F4\nT.02342.2\nDin\ncm 10 h x 7 l\n33\u002F4 x 23\u002F4\nT.02128.2\nM.02128.2\nL’inchino\nBow\ncm 14 h x 9 l\n51\u002F2 x 31\u002F2\nT.02129.2\nM.02129.2\nArabesque\ncm 15 h x 9 l\n53\u002F4 x 31\u002F2\nT.02341.2\nDon\nT.02342.2\nDin\nT.02342.2\nDin\nT.02341.2\nDon\nT.02129.2\nArabesque\nM.02129.2\nArabesque\nT.02128.2\nL’inchino\nBow\nM.02128.2\nL’inchino\nBow\nT.01833.2\nBallerina Tahia\nTahia dancer \ncm 8 h x 12 l\n31\u002F4 x 43\u002F4\nT.01834.2\nBallerina Maya\nMaya dancer \ncm 8 h x 12 l\n31\u002F4 x 43\u002F4\nT.01336.2\nBallerina Michelle\nMichelle dancer \ncm 8 h x 20 l\n31\u002F4 x 73\u002F4\nT.01337.2\nBallerina Carla\nCarla dancer \ncm 9 h x 18 l\n31\u002F2 x 7”\nT.01338.2\nBallerina Corina\nCorina dancer \ncm 13 h x 18 l\n5” x 7”\n197\nDREAMS\n196\nDREAMS\n",99,{"image":410,"text":411,"number":412},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.100.png","particolare\nT.01789.2\nLa Biga\nChariot\nMYTHOS\nIl mito del carro, o della Biga alata, tratto dal Fedro di Platone,\nspiega le teoria platonica della reminiscenza dell’anima,\nun fenomeno che durante la  reincarnazione produce ricordi legati alla vita precedente.\nRacconta una ipotetica Biga trainata da due cavalli:\nuno bianco raffigurante la parte dell’anima con pensieri più alti e razionali (quella intellettiva),\ne un cavallo nero, che rappresenta la parte dell’anima con pensieri più buoni quali la passione e i sentimenti...\ni due cavalli sono tenuti per le briglie dell’auriga, che rappresenta la ragione.\nLa Biga è diretta verso l’iperuranio, un luogo metafisico a forma di anfiteatro dove risiedono le idee.\n“The myth of the cart, or winged chariot, taken from Plato’s Fedro,\nexplains the Platonic theory of the souls reminiscence,\na phenomenon that during reincarnation produces memories tied to a preceding life.\nIt relates to a hypothetical chariot pulled by two horses:\n one withe, representing the part of the soul with higher and more rational thoughts (the intellective part),\nand a black horse which represents the part of the soul with good thoughts like passion and sentiments... \nThe two horses are held by the charioteer, who represents reason. \nThe chariot is directed towards iperuranio, a metaphysic place in the form of an amphitheatre where ideas reside.\n198\nMY THOS\n",100,{"image":414,"text":415,"number":416},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.101.png","1954.2\nIl Bacco\nBacchus\ncm 64 h x 43 l\n251\u002F4 x 163\u002F4\nT.01789.2\nLa Biga\nChariot\ncm 48 h x 42 l\n183\u002F4 x 161\u002F2\n201\nMY THOS\n200\nMY THOS\n",101,{"image":418,"text":419,"number":420},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.102.png","T.01775.2\nBaccante Candelabro sx\nCandlestick L\ncm 60 h x 18 l\n231\u002F2 x 7\nT.01776.2\nBaccante Candelabro dx\nCandlestick R\ncm 60 h x 18 l\n231\u002F2 x 7\nT.01775.2\nBaccante Candelabro sx\nCandlestick L\nT.01776.2\nBaccante Candelabro dx\nCandlestick R\nT.02012.2\nL’Aurora\nDawn\ncm 30 h x 36 l\n113\u002F4 x 141\u002F4\n203\nMY THOS\n202\nMY THOS\n",102,{"image":422,"text":423,"number":424},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.103.png","T.01774.2\nGran Candelabro Atene\nBig Athens candlestick\ncm 76 h x 42 l\n291\u002F4 x 161\u002F2\nT.01562.2\nLe Baccanti\nVenus\ncm 39 h x 42 l\n151\u002F4 x 161\u002F2\n205\n204\nMY THOS\n",103,{"image":426,"text":427,"number":428},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.104.png","particolare\n947.4\nBarby\nFEMININITY\nDio ha dato alle donne l’intuizione e la femminilità.\n Utilizzata correttamente, questa combinazione confonde la mente di ogni persona che io abbia mai conosciuto.\nFarrah Fawcett, attrice e artista americana\nGod gave women intuiton and femininity.\nUsed properly, the combination easily jumbles the brain of any man I’ve ever met. \nFarrah Fawcett, american actress and artist\n206\n",104,{"image":430,"text":431,"number":432},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.105.png","    947.4\nBarby\ncm 48 h x 34 l\n183\u002F4 x 133\u002F4\n209\nFEMININITY\n208\nFEMININITY\n",105,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.106.png","947.5\nBarby\ncm 48 h x 34 l\n183\u002F4 x 133\u002F4\nT.02356.2\nRanya Autunno\nRanya Autumn\ncm 33 h x 16 l\n123\u002F4 x 7\nT.02357.2\nSoraya Inverno\nSoraya Winter\ncm 33 h x 16 l\n123\u002F4 x 7\nT.02356.2\nRanya Autunno\nRanya Autumn\nT.02357.2\nSoraya Inverno\nSoraya Winter\n211\nFEMININITY\n210\nFEMININITY\n",106,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.107.png","T.02354.2\nDiana Primavera\nDiana Spring\ncm 33 h x 18 l\n123\u002F4 x 71\u002F4\nT.02355.2\nGrace Estate\nGrace Summer\ncm 33 h x 18 l\n123\u002F4 x 71\u002F4\nT.02354.2\nDiana Primavera\nDiana Spring\nT.02355.2\nGrace Estate\nGrace Summer\n947.5\nBarby\ncm 48 h x 34 l\n183\u002F4 x 133\u002F4\n213\nFEMININITY\n212\nFEMININITY\n",107,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.108.png","T.02365.2\nGiselle Autunno\nGiselle Autumn\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\nT.02366.2\nSofia Inverno\nSofia Winter\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\nT.02365.2\nGiselle Autunno\nGiselle Autumn\nT.02366.2\nSofia Inverno\nSofia Winter\nT.02363.2\nBeatrice Primavera\nBeatrice Spring\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\nT.02364.2\nJacqueline Estate\nJacqueline Summer\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\nT.02363.2\nBeatrice Primavera\nBeatrice Spring\nT.02364.2\nJacqueline Estate\nJacqueline Summer\n215\nFEMININITY\n214\nFEMININITY\n",108,{"image":446,"text":447,"number":448},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.109.png","T.01470.2\nDonna Fiorita\nFlowered woman\ncm 26 h x 19 l\n101\u002F4 x 71\u002F2\nT.01174.2\nSuonatrice di Chitarra\nGuitar player\ncm 20 h x 15 l\n73\u002F4 x 53\u002F4\nT.01174.2\nSuonatrice di Chitarra\nGuitar player\nT.01470.2\nDonna Fiorita\nFlowered woman\nT.01469.2\nFelicità in Fiore\nFlowered Happiness\ncm 30 h x 22 l\n113\u002F4 x 81\u002F2\n217\nFEMININITY\n216\nFEMININITY\n",109,{"image":450,"text":451,"number":452},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.110.png","M.02103.2\nAl Ballo\nOn the way to the ballroom\ncm 23 h x 39 l\n9 x 151\u002F4\nT.00628.2\nGruppo primavera\nSpring group\ncm 22 h x 17 l\n83\u002F4 x 63\u002F4\n219\nFEMININITY\n218\nFEMININITY\n",110,{"image":454,"text":455,"number":456},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.111.png","T.01388.2\nSpecchio 700 medio\nMedium mirror\ncm 38 h x 28 l\n143\u002F4 x 11\nT.01389.2\nSpecchio 700 picccolo\nSmall mirror\ncm 37 h x 23 l\n141\u002F2 x 9\nT.01388.2\nSpecchio 700 medio\nMedium mirror\nT.01389.2\nSpecchio 700 piccolo\nSmall mirror\nT.01741.2\nLo Specchio della Felicità\nHappiness Mirror\ncm 30 h x 34 l\n113\u002F4 x 131\u002F4\n221\nFEMININITY\n220\nFEMININITY\n",111,{"image":458,"text":459,"number":460},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.112.png","T.02452.2\nMadonna della Salute\nHealth Virgin\ncm 18 h x 12 l\n7 x 43\u002F4\nTRADITIONS\nTrova un minuto per pensare,\ntrova un minuto per pregare,\ntrova un minuto per ridere.\nMadre Teresa di Calcutta\n“Find a minute to think,\nfind a minute to pray,\nfind a minute to laugh” \nMother Therese of Calcutta\n223\n222\nTRADITIONS\n",112,{"image":462,"text":463,"number":464},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.113.png","T.02452.2\nMadonna della Salute\nHealth Virgin\ncm 18 h x 12 l\n7 x 43\u002F4\nT.02446.2\nMadonna Medjugorie piccola\nMedjugorie Virgin\ncm 10 h x 7 l\n33\u002F4 x 23\u002F4\nT.02455.2\nMadonna di Fatima piccola\nFatima Virgin\ncm 17,5 h x 10.5 l\n63\u002F4 x 41\u002F2\nT.02446.2\nMadonna Medjugorie piccola\nMedjugorie Virgin\nT.02446.2\nMadonna Medjugorie piccola\nMedjugorie Virgin\nT.02455.2\nMadonna di Fatima piccola\nFatima Virgin\nT.02455.2\nMadonna di Fatima piccola\nFatima Virgin\n225\nTRADITIONS\n224\nTRADITIONS\n",113,{"image":466,"text":467,"number":468},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.114.png","T.02454.2\nMadonna di Fatima grande\nFatima Virgin\ncm 22 h x 13 l\n81\u002F2 x 51\u002F4\nT.02454.2\nMadonna di Fatima grande\nFatima Virgin\nT.02454.2\nMadonna di Fatima grande\nFatima Virgin\nT.02445.2\nMadonna Medjugorie grande\nMedjugorie Virgin\ncm 14 h x 8 l\n31\u002F2 x 31\u002F4\n227\nTRADITIONS\n226\nTRADITIONS\n",114,{"image":470,"text":471,"number":472},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.115.png","T.02444.2\nMadonna Rinascimento\nRenaissance Virgin\ncm 20 h x 13 l\n73\u002F4 x 51\u002F4\nT.02448.2\nMadonna dell’Abraccio\nEmbrace Virgin\ncm 19 h x 12 l\n71\u002F2 x 43\u002F4\nT.02448.2\nMadonna dell’Abraccio\nEmbrace Virgin\nT.02448.2\nMadonna dell’Abraccio\nEmbrace Virgin\n229\nTRADITIONS\n228\nTRADITIONS\n",115,{"image":474,"text":475,"number":476},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.116.png","1090.2\nLa Pietà\nPiety\ncm 30 h x 41 l\n113\u002F4 x 161\u002F4\n1928.2\nLa Pietà media\nPiety\ncm 19 h x 23 l\n71\u002F2 x 9\nT.02174.2\nMadonna dell’Olivo\nOlive Virgin\ncm 37 h x 21 l\n141\u002F2 x 81\u002F4\n1090.2\nLa Pietà\nPiety\n1928.2\nLa Pietà media\nPiety\n231\nTRADITIONS\n230\nTRADITIONS\n",116,{"image":478,"text":479,"number":480},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.117.png","1963.2\nGesù grande\nBig baby Jesus\ncm 17 h x 25 l\n61\u002F2 x 93\u002F4\n1964.2\nGesù medio\nMedium baby Jesus\ncm 13 h x 18 l\n51\u002F4 x 7\n1965.2\nGesù piccolo\nSmall baby Jesus\ncm 7 h x 10 l\n23\u002F4 x 33\u002F4\n2394.2\nGesù grandissimo\nBaby Jesus very big\ncm 50 h x 33 l\n191\u002F2 x 123\u002F4\n1965.2\nGesù piccolo\nSmall baby Jesus\n1964.2\nGesù medio\nMedium baby Jesus\n1963.2\nGesù grande\nBig baby Jesus\n2394.2\nGesù grandissimo\nBaby Jesus very big\n784.2\nBambina Preghiera\nPraying Girl\ncm 10 h x 6 l\n33\u002F4 x 21\u002F4\n785.2\nBambino Preghiera\nPraying Boy\ncm 10 h x 6 l\n33\u002F4 x 21\u002F4\n784.2\nBambina Preghiera\nPraying Girl\n785.2\nBambino Preghiera\nPraying Boy\n233\nTRADITIONS\n232\nTRADITIONS\n",117,{"image":482,"text":483,"number":484},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.118.png","T.02349.2\nAutunno\nAutumn\nT.02351.2\nInverno\nWinter\nT.02353.2\nCapoletto Firenze\nFlorence Virgin Headboard\nT.02348.2\nPrimavera\nSpring\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.02349.2\nAutunno\nAutumn\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.02350.2\nEstate\nSummer\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.02351.2\nInverno\nWinter\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\nT.02353.2\nCapoletto Firenze\nFlorence Virgin Headboard\ncm 43 h x 34 l\n163\u002F4 x 131\u002F4\nT.02348.2\nPrimavera\nSpring\nT.02350.2\nEstate\nSummer\n235\nTRADITIONS\n234\nTRADITIONS\n",118,{"image":486,"text":487,"number":488},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.119.png","T.01947.6\nCherubino Fiorito dx\nFlowered cherub R\ncm 19 h x 22 l\n71\u002F2 x 81\u002F2\nT.02020.6\nCapoletto Madonna Fiorita\nFlowered Virgin headboard\ncm 46 h x 34 l\n181\u002F4 x 131\u002F4\nT.01947.6\nCherubino Fiorito dx\nFlowered cherub R\nT.02020.6\nCapoletto Madonna Fiorita\nFlowered Virgin headboard\nT.01912.2\nCapoletto Madonna\nVirgin headboard\ncm 30 h x 23 l\n113\u002F4 x 9\nT.01948.6\nCherubino Fiorito sx\nFlowered cherub L\ncm 19 h x 22 l\n71\u002F2 x 81\u002F2\nT.02020.2\nCapoletto Madonna\nVirgin headboard\ncm 46 h x 34 l\n181\u002F4 x 131\u002F4\nT.01912.2\nCapoletto Madonna\nVirgin headboard\nT.01948.6\nCherubino Fiorito sx\nFlowered cherub L\nT.02020.2\nCapoletto Madonna\nVirgin headboard\n237\nTRADITIONS\n236\nTRADITIONS\n",119,{"image":490,"text":491,"number":492},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.120.png","T.01929.2\nAcquasantiera Primavera\nSpring Stoup\ncm 30 h x 19 l\n113\u002F4 x 71\u002F2\nT.01930.2\nAcquasantiera Autunno\nAutumn Stoup\ncm 30 h x 19 l\n113\u002F4 x 71\u002F2\nT.01946.2\nGrande Acquasantiera\nBig Stoup\ncm 48 h x 36 l\n183\u002F4 x 141\u002F4\nT.01929.2\nAcquasantiera Primavera\nSpring Stoup\nT.01930.2\nAcquasantiera Autunno\nAutumn Stoup\nT.01946.2\nGrande Acquasantiera\nBig Stoup\nT.00148.3\nApplique Fiorita\nFlowered Applique\ncm 26 h x 20 l\n101\u002F4 x 73\u002F4\nT.00149.3\nApplique Vendemmia\nGrapes Applique\ncm 26 h x 20 l\n101\u002F4 x 73\u002F4\nT.01232.3\nAngelo Primavera\nSpring Angel\ncm 23 h x 13 l\n9’’ x 51\u002F4\nT.01233.3\nAngelo Autunno\nAutumn Angel\ncm 23 h x 13 l\n9’’ x 51\u002F4\nT.01415.2\nAngelo Estate\nSummer Angel\ncm 23 h x 13 l\n9’’ x 51\u002F4\nT.01416.2\nAngelo Inverno\nWinter Angel\ncm 23 h x 13 l\n9’’ x 51\u002F4\nT.00148.3\nApplique Fiorita\nFlowered Applique\nT.00149.3\nApplique Vendemmia\nGrapes Applique\nT.01232.3\nAngelo Primavera\nSpring Angel\nT.01233.3\nAngelo Autunno\nAutumn Angel\nT.01415.2\nAngelo Estate\nSummer Angel\nT.01416.2\nAngelo Inverno\nWinter Angel\n239\nTRADITIONS\n238\nTRADITIONS\n",120,{"image":494,"text":495,"number":496},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.121.png","T.02177.2\nAcquasantiera Lira\nLyre Stoup\ncm 6 h x 20 l\n21\u002F4 x 73\u002F4\nT.02176.2\nAcquasantiera Mandola\nMandolin Stoup\ncm 6 h x 20 l\n21\u002F4 x 73\u002F4\nPL01838.2\nAcquasantiera S. Agnese\nSaint Agnes Stoup\ncm 11 h x 4 l\n41\u002F2 x 11\u002F2\nPL01839.2\nAcquasantiera S. Andrea\nSaint Andrew Stoup\ncm 11 h x 4 l\n41\u002F2 x 11\u002F2\nT.02177.2\nAcquasantiera Lira\nLyre Stoup\nT.02176.2\nAcquasantiera Mandola\nMandolin Stoup\nPL01838.2\nAcquasantiera S. Agnese\nSaint Agnes Stoup\nPL01839.2\nAcquasantiera S. Andrea\nSaint Andrew Stoup\nT.01636.2\nAcquasantiera Fiorita\nFlowered Stoup\ncm 13 h x 23 l\n51\u002F4 x 9’\nT.01637.2\nAcquasantiera Cherubini\nCherubs Stoup\ncm 13 h x 23 l\n51\u002F4 x 9’\nT.01638.2 A\nAcquasantiera Putto\nLittle angel Stoup\ncm 13 h x 27 l\n51\u002F4 x 101\u002F2\nT.01638.2 B\nAcquasantiera Putto\nLittle angel Stoup\ncm 13 h x 27 l\n51\u002F4 x 101\u002F2\nT.01636.2\nAcquasantiera Fiorita\nFlowered Stoup\nT.01637.2\nAcquasantiera Cherubini\nCherubs Stoup\nT.01638.2 A\nAcquasantiera Putto\nLittle angel Stoup\nT.01638.2 B\nAcquasantiera Putto\nLittle angel Stoup\n241\nTRADITIONS\n240\nTRADITIONS\n",121,{"image":498,"text":499,"number":500},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.122.png","T.02124.2\nMedico con Signora\nLady and doctor\ncm 28 h x 24 l\n11’’ x 91\u002F2\nMESTIERI\nMi piace quello che c’è nel lavoro: la possibilità di trovare se stessi.\nLa propria realtà - per se stesso, non per gli altri - ciò che nessun altro potrà mai conoscere.\nJoseph Conrad - scrittore polacco\nI like what is in work: the chance to find yourself.\nOne’s own reality - for oneself, not for others - what no other man can ever know. \nJoseph Conrad - Polish-born English writer\n243\nMESTIERI\n242\n",122,{"image":502,"text":503,"number":504},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.123.png","870.2\nIl Medico\nThe Doctor\ncm 22 h x 11 l\n81\u002F2 x 41\u002F4\n869.2\nL’ Avvocato\nThe Lawyer\ncm 22 h x 11 l\n81\u002F2 x 41\u002F4\n861.2\nPiccolo Avvocato\nLittle Lawyer\n862.2\nPiccolo Chimico\nLittle Chemist\n863.2\nPiccolo Dentista\nLittle Dentist\n864.2\nPiccolo Medico\nLittle Doctor\n865.2\nPiccolo Ingegnere\nLittle Engineer\n870.2\nIl Medico\nThe Doctor\n869.2\nL’Avvocato\nThe Lawyer\n861.2\nPiccolo Avvocato\nLittle Lawyer\ncm 13 h x 7 l\n51\u002F4 x 23\u002F4\n862.2\nPiccolo Chimico\nLittle Chemist\ncm 12 h x 6 l\n43\u002F4 x 21\u002F4\n863.2\nPiccolo Dentista\nLittle Dentist\ncm 12 h x 6 l\n43\u002F4 x 21\u002F4\n864.2\nPiccolo Medico\nLittle Doctor\ncm 13 h x 6 l\n51\u002F4 x 21\u002F4 \n865.2\nPiccolo Ingegnere\nLittle Engineer\ncm 12 h x 5 l\n43\u002F4 x 13\u002F4\n244\nMESTIERI\n245\nMESTIERI\n",123,{"image":506,"text":507,"number":508},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.124.png","T.02123.2\nL’Antiquario\nThe antique dealer\ncm 30 h x 28 l\n113\u002F4 x 11’’\nT.02125.2\nVecchio con Palloni\nBalloons old man\ncm 40 h x 17 l\n53\u002F4 x 61\u002F2\nT.02126.2\nVagabondo\nVagabond\ncm 34 h x 17 l\n131\u002F4 x 61\u002F2\nT.02125.2\nVecchio con Palloni\nBalloons old man\nT.02126.2\nVagabondo\nVagabond\n246\nMESTIERI\n247\nMESTIERI\n",124,{"image":510,"text":511,"number":512},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.125.png","553.2\nIl Pittore\nThe Painter\ncm 22 h x 16 l\n81\u002F2 x 61\u002F4\n609.2\nL’amico fedele\nThe Devoted Friend \ncm 23 h x 18 l\n9’’ x 7’’\n248\nMESTIERI\n249\nMESTIERI\n",125,{"image":514,"text":515,"number":516},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.126.png","592.2\nGruppo allegria\nOld but happy\ncm 28 h x 17 l\n11” x 61\u002F2\n629.2\nErminia\ncm 21 h x 24 l\n81\u002F4 x 91\u002F2\n250\nMESTIERI\n251\nMESTIERI\n",126,{"image":518,"text":519,"number":520},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.127.png","T.01945.2\nCandelabro Orfeo\nOrpheus Candlestick\ncm 93 h x 38 l\n361\u002F2 x 143\u002F4\nT.01945.2\nCandelabro Orfeo\nOrpheus Candlestick\nT.01945.2\nCandelabro Orfeo\nOrpheus Candlestick\nVERSAILLES\n“In questa dimora regale e incantevole siete invitati a venire, o popoli della terra, o curiosi e sapienti.\nAmmirate l’abilità, il sapere, la condotta e la delicatezza delle maestranze.\nContemplate la grandezza, lo sfarzo, la magnificenza e la liberalità del principe.”\nMonsieur de Combes\nI segreti di Versailles di Laura Savani\n“Oh people of the world, oh the curious and the learned you are invited to come to this regal and enchanting abode.\n Admire the ability, the knowledge, the conduct, the finesse of the workers. \nContemplate the greatness, the magnificence and the generosity of the prince”  \nMonsieur de Combes \nThe secrets of Versailles by Laura Savani\n253\n252\nVERSAILLES\nVERSAILLES\n",127,{"image":522,"text":523,"number":524},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.128.png","T.00727.2\nSpecchiera Paradiso\nParadise mirror\ncm 70 h x 56 l\n271\u002F2 x 22’’\nT.01662.2\nTralcio Angelo Centrale\nCentral Angel Branch\ncm 48 h x 32 l\n183\u002F4 x 121\u002F2\nT.01673.2\nTralcio Angelico dx\nAngel branch R\ncm 12 h x 32 l\n43\u002F4 x 121\u002F2\nT.01674.2\nTralcio Angelico sx\nAngel branch L\ncm 12 h x 32 l\n43\u002F4 x 121\u002F2\nT.01770.2\nConsolle Paradiso\nParadise consolle\ncm 38 h x 47 l\n143\u002F4 x 181\u002F2\nT.01662.2\nTralcio Angelo Centrale\nCentral Angel Branch\nT.00727.2\nSpecchiera Paradiso\nParadise mirror\nT.01674.2\nTralcio Angelico sx\nAngel branch L\nT.01673.2\nTralcio Angelico dx\nAngel branch R\nT.01770.2\nConsolle Paradiso\nParadise consolle\nT.01807.2 A\nPiatto Paradiso\nParadise\ncm 11 h x 25 l\n41\u002F4 x 93\u002F4\nT.01807.2 B\nPiatto Paradiso\nParadise\ncm 11 h x 25 l\n41\u002F4 x 93\u002F4\nT.01807.2 A\nPiatto Paradiso\nParadise\nT.01807.2 B\nPiatto Paradiso\nParadise\n255\n254\nVERSAILLES\nVERSAILLES\n",128,{"image":526,"text":527,"number":528},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.129.png","T.01333.2\nCandeliere D’Artagnan\nD’Artagnan Candlestick\nT.01659.2\nCoppa Versailles Ovale\nVersailles Oval Goblet\nPL01781.2\nCandeliere Versailles\nVersailles Candlestick\ncm 60 h x 38 l\n231\u002F2 x 143\u002F4\nT.01333.2\nCandeliere D’Artagnan\nD’Artagnan Candlestick\ncm 46 h x 26 l\n181\u002F4 x 101\u002F4\nT.01659.2\nCoppa Versailles Ovale\nVersailles Oval Goblet\ncm 14 h x 30 l\n51\u002F2 x 113\u002F4\n257\nVERSAILLES\n256\nVERSAILLES\n",129,{"image":530,"text":531,"number":532},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.130.png","570.7\nSeconda Carezza a Venezia\nLove in Venice\ncm 25 h x 34 l\n93\u002F4 x 131\u002F4\nBISQUIT\nIn Europa i primi prodotti di Bisquit si diffusero in Francia per prima volta intorno al 1750 c.a.\nLa denominazione Bisquit deriva dal fatto che la sua fabbricazione prevede duplici cotture \nad una temperatura di circa 1300°,\nma senza lo strato lucido presenta una grana tenera di caolino puro.\nIn assoluto la Porcellana Bisquit è originaria della Cina, dove da molti secoli era già noto\nil caolino (dal cinese Kaoling), e nacque intorno al XVII secolo.\nVerso la metà del XVIII secolo anche la Francia,\nseguita dall’Austria, si specializzo in questo tipo di prodotti, trainata dalla manifattura\ndi Sèvres famosa soprattutto per le statuette.\nGrazie all’ausilio di smaltari come Etienne Maurice Falconet e Claude Mietel il Bisquit\ntoccò livelli qualitativi eccellenti\nin un periodo compreso tra fine del XVIII secolo e metà del XIX.\nThe first Bisquit products appeared in France for the first time around 1750.\nThe word Bisquit derives from the fact that the manufacture requires double cooking time at 1300°,\nbut without the shiny covering shows a soft grain of fine and pure caoline. \nBisquit porcelain originated in China where caoline was known \n(from the Chinese word Kaoling) and started to be produced around the XVII century. \nIn the second half of the XVIII century France, followed by Austria,\n specialized in this kind of product on the example of the Sèvres \nfactory which was famous for statuettes.\n Between the end of the XVIII century and mid-nineteenth century \nBisquit reached very high quality levels thanks to use of enamel \nby Etienne Maurice Falconet and Claude Mitel.\nBISQUIT\n259\n258\n",130,{"image":534,"text":535,"number":536},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.131.png","1802.7\nI Cavalieri Imprudenti\nReckless Riders\ncm 39 h x 42 l\n151\u002F4 x 161\u002F2\n260\nBISQUIT\n",131,{"image":538,"text":539,"number":540},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.132.png","2108.7\nArmonia di Putti\nAngels Harmony\ncm 44 h x 30 l\n171\u002F4 x 113\u002F4\n262\nBISQUIT\n",132,{"image":542,"text":543,"number":544},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.133.png","1734.7\nSogno Fiorito\nFlowered Dream\ncm 45 h x 34 l\n171\u002F2 x 131\u002F4\n1088.7\nMamma con Bambino\nMother with baby\ncm 30 h x 17 l\n113\u002F4 x 61\u002F2\n264\nBISQUIT\n",133,{"image":546,"text":547,"number":548},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.134.png","1562.7\nLe Baccanti\nVenus\ncm 39 h x 42 l\n151\u002F4 x 161\u002F2\n1472.7\nMaternità Fiorita\nFlovered Motherhood\ncm 26 h x 19 l\n101\u002F4 x 71\u002F2\n266\nBISQUIT\n",134,{"image":550,"text":551,"number":552},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.135.png","2249.7\nAngeli Versailles Vendemmia\nVersailles Angels with grapes\ncm 52 h x 26 l\n201\u002F4 x 101\u002F4\n2248.7\nAngeli Versailles Fioriti\nVersailles Flowered Angels\ncm 52 h x 26 l\n201\u002F4 x 101\u002F4\n269\nBISQUIT\n268\nBISQUIT\n",135,{"image":554,"text":555,"number":556},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.136.png","287.1\nLampada Cecilia\nCecilia’s Lamp\ncm 41 h x 20 l\n161\u002F4 x 73\u002F4\n299.1\nLampada Leone\nLeone’s Lamp\ncm 41 h x 20 l\n161\u002F4 x 73\u002F4\n425.1\nLampada Gioco di Bimbe\nLittle girls playing Lamp\ncm 50 h x 30 l\n191\u002F2 x 113\u002F4\n287.1\nLampada Cecilia\nCecilia’s Lamp\n299.1\nLampada Leone\nLeone’s Lamp\n425.1\nLampada Gioco di Bimbe\nLittle girls playing Lamp\n2363.1\nBeatrice Primavera\nBeatrice Spring\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\n2364.1\nJacqueline Estate\nJacqueline Summer\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\n2365.1\nGiselle Autunno\nGiselle Autumn\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\n2366.1\nSofia Inverno\nSofia Winter\ncm 22 h x 12 l\n81\u002F2 x 43\u002F4\n2363.1\nBeatrice Primavera\nBeatrice Spring\n2364.1\nJacqueline Estate\nJacqueline Summer\n2365.1\nGiselle Autunno\nGiselle Autumn\n2366.1\nSofia Inverno\nSofia Winter\n271\nBISQUIT\n270\nBISQUIT\n",136,{"image":558,"text":559,"number":560},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.137.png","1945.7\nCandelabro Orfeo sx\nOrpheus Candlestick L\ncm 93 h x 38 l\n361\u002F2 x 143\u002F4\n1945.7\nCandelabro Orfeo dx\nOrpheus Candlestick R\ncm 93 h x 38 l\n361\u002F2 x 143\u002F4\n1945.7\nCandelabro Orfeo sx\nOrpheus Candlestick L\n1945.7\nCandelabro Orfeo dx\nOrpheus Candlestick R\n1307.6\nGran Colonna\nBig Column\ncm 89 h x 32 l\n35 x 121\u002F2\n4002309.7\nBolshoi dx\nBolshoi R\ncm 130 h x 55 l\n511\u002F4 x 211\u002F2\n4002310.7\nBolshoi sx\nBolshoi L\ncm 130 h x 55 l\n511\u002F4 x 211\u002F2\n4002309.7\nBolshoi dx\nBolshoi R\n4002310.7\nBolshoi sx\nBolshoi L\n1307.6\nGran Colonna\nBig Column\n",137,{"image":562,"text":563,"number":564},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.138.png","1774.7\nGran Candelabro Atene\nAthens Candlestick\ncm 76 h x 42 l\n291\u002F4 x 161\u002F2\n4000138.7\nPutto Flambeau sx\nFlambeau Angel L\ncm 120 h x 67 l\n471\u002F4 x 261\u002F4\n4000138.7\nPutto Flambeau dx\nFlambeau Angel R\ncm 120 h x 67 l\n471\u002F4 x 261\u002F4\n4000138.7\nPutto Flambeau sx\nFlambeau Angel L\n4000138.7\nPutto Flambeau dx\nFlambeau Angel R\n274\nBISQUIT\n",138,{"image":566,"text":567,"number":568},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.139.png","276\nBISQUIT\n1030.01\nSinfonia marina\nMarine Symphony\ncm 28 h x 38 l\n11” x 143\u002F4\n",139,{"image":570,"text":571,"number":572},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.140.png","1560.7\nBaccanale\nBacchanal\ncm 46 h x 42 l\n181\u002F4 x 161\u002F2\nG.00292.6\nGrande Angelo Applique dx\nBig wall light Angel R\ncm 86 h x 36 l\n333\u002F4 x 141\u002F4\nG.00293.6\nGrande Angelo Applique sx\nBig wall light Angel L\ncm 86 h x 36 l\n333\u002F4 x 141\u002F4\nG.00292.6\nGrande Angelo Applique dx\nBig wall light Angel R\nG.00293.6\nGrande Angelo Applique sx\nBig wall light Angel L\n278\nBISQUIT\n",140,{"image":574,"text":575,"number":576},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.141.png","1561.7\nVendemmia di Bacchi\nAngels Grapesharvesting\ncm 36 h x 34 l\n141\u002F4 x 131\u002F4\n641.1\nBambina Primavera\nSpring Girl\ncm 17 h x 8 l\n61\u002F2 x 31\u002F4\n642.1\nBambina Estate\nSummer Girl\ncm 17 h x 8 l\n61\u002F2 x 31\u002F4\n643.1\nBambina Autunno\nAutumn Girl\ncm 17 h x 8 l\n61\u002F2 x 31\u002F4\n644.1\nBambina Inverno\nWinter Girl\ncm 17 h x 8 l\n61\u002F2 x 31\u002F4\n641.1\nBambina Primavera\nSpring Girl\n642.1\nBambina Estate\nSummer Girl\n643.1\nBambina Autunno\nAutumn Girl\n644.1\nBambina Inverno\nWinter Girl\n280\nBISQUIT\n",141,{"image":578,"text":579,"number":580},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.142.png","2008.7\nPiccolo Bacco sx\nBacchus L\ncm 27 h x 14 l\n101\u002F2 x 51\u002F2\n2009.7\nPiccolo Bacco dx\nBacchus R\ncm 27 h x 14 l\n101\u002F2 x 51\u002F2\n2008.7\nPiccolo Bacco sx\nLittle Angel L\n2009.7\nPiccolo Bacco dx\nLittle Angel R\n2060.7\nOrchestra Fiorita\nFlowered orchestra\ncm 30 h x 33 l\n113\u002F4 x 123\u002F4\n",142,{"image":582,"text":583,"number":584},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.143.png","1844.7\nPutto Primavera\nSpring Angel\n1847.7\nPutto Inverno\nWinter Angel\n2032.7\nEstate Bizet\nBizet Summer\n2033.7\nInverno Bizet\nBizet Winter\n2030.7\nPrimavera Bizet\nBizet Spring\n2031.7\nAutunno Bizet\nBizet Autumn\n1846.7\nPutto Autunno\nAutumn Angel\n1845.7\nPutto Estate\nSummer Angel\n1844.7\nPutto Primavera\nSpring Angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\n1845.7\nPutto Estate\nSummer Angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\n1846.7\nPutto Autunno\nAutumn Angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\n1847.7\nPutto Inverno\nWinter Angel\ncm 27 h x 13 l\n101\u002F2 x 51\u002F4\n2030.7\nPrimavera Bizet\nBizet Spring\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\n2031.7\nAutunno Bizet\nBizet Autumn\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\n2032.7\nEstate Bizet\nBizet Summer\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\n2033.7\nInverno Bizet\nBizet Winter\ncm 14 h x 10 l\n51\u002F2 x 31\u002F4\n284\nBISQUIT\n",143,{"image":586,"text":587,"number":588},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.144.png","2254.7\nPrimavera Versailles\nVersailles Spring\n2255.7\nEstate Versailles\nVersailles Summer\n2256.7\nAutunno Versailles\nVersailles Autumn\n2257.7\nInverno Versailles\nVersailles Winter\n1976.7\nAngelo Inverno\nWinter Angel\n1974.7\nAngelo Estate\nSummer Angel\n1973.7\nAngelo Primavera\nSpring Angel\n1975.7\nAngelo Autunno\nAutumn Angel\n2254.7\nPrimavera Versailles\nVersailles Spring\ncm 32 h x 17 l\n121\u002F2 x 61\u002F2\n2255.7\nEstate Versailles\nVersailles Summer\ncm 32 h x 17 l\n121\u002F2 x 61\u002F2\n2256.7\nAutunno Versailles\nVersailles Autumn\ncm 37 h x 17 l\n14 x 61\u002F2\n2257.7\nInverno Versailles\nVersailles Winter\ncm 32 h x 17 l\n121\u002F2 x 61\u002F2\n1973.7\nAngelo Primavera\nSpring Angel\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\n1974.7\nAngelo Estate\nSummer Angel\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\n1975.7\nAngelo Autunno\nAutumn Angel\ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\n1976.7\nAngelo Inverno\nWinter Angel \ncm 21 h x 12 l\n81\u002F4 x 43\u002F4\n286\nBISQUIT\n",144,{"image":590,"text":591,"number":592},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.145.png","1954.7\nIl Bacco\nBacchus\ncm 64 h x 43 l\n251\u002F4 x 163\u002F4\nIL MITO DI BACCO\nBacco o Dionisio, divinità rappresentato come un giovane bellissimo,\n con il capo riccioluto e incoronato da pampini e viticci, spesso è gioviale e sorridente,\n simbolo del tripudio e della ricchezza della natura, talvolta legato a riti oscuri e selvaggi.\nAnche Orfeo il più antico cantore della Grecia si inserisce nel mito di Dionisio. \nOrfeo disdegnava il Dio del Vino ed era devoto solo ad Apollo.\nBacchus or Dionysus, a divinity always depicted as a beautiful\nyoung boy with curly hair and  crown of vine leaves, always smiling and jovial,\n symbol of happiness and richness of nature, sometimes tied to obscure and wild rites.\n Orpheus, the oldest poet of Greece, enters the Dionysius myth.\n Orpheus disdained the wine God and was devoted only to Apollo.\n288\n",145,{"image":594,"text":595,"number":596},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.146.png","2430.7\nAlessandra\ncm 56 h x 32 l\n22” x 121\u002F2\n290\nBISQUIT\n",146,{"image":598,"text":599,"number":600},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.147.png","3354.1\nTrionfo di Elfi\nElves Triumph\n3355.1\nElfi in Riposo\nResting Elves\n3356.1\nElfi in Cammino\nWalking Elves\n3336.7\nElfi in Riposo\nResting Elves\n3351.7\nTrionfo di Elfi\nElves Triumph\n3337.7\nElfi in Cammino\nWalking Elves\n3354.1\nTrionfo di Elfi\nElves Triumph\ncm 23 h x 16 l\n9 x 61\u002F4\n3355.1\nElfi in Riposo\nResting Elves\ncm 17 h x 12 l\n61\u002F2 x 43\u002F4\n3356.1\nElfi in Cammino\nWalking Elves\ncm 16 h x 10 l\n61\u002F4 x 33\u002F4\n3336.7\nElfi in Riposo\nResting Elves\ncm 27 h x 12 l\n101\u002F2 x 43\u002F4\n3337.7\nElfi in Cammino\nWalking Elves\ncm 25 h x 12 l\n93\u002F4 x 43\u002F4\n3351.7\nTrionfo di Elfi\nElves Triumph\ncm 33 h x 18 l\n123\u002F4 x 7\n292\nBISQUIT\n",147,{"image":602,"text":603,"number":604},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.148.png","1087.7\nPutti Puccini\nPuccini Little Angels\n1173.7\nPutti Barocchi\nBaroque Angels\n913.6\nAngeli Bellini\nBellini Angels\n913.7\nAngeli Bellini\nBellini Angels\n913.6\nAngeli Bellini\nBellini Angels\nset 5 pc\ncm 11 h x 6 l\n41\u002F4 x 21\u002F4\n913.7\nAngeli Bellini\nBellini Angels\nset 5 pc\ncm 11 h x 6 l\n41\u002F4 x 21\u002F4\n1087.7\nPutti Puccini\nPuccini Little Angels\nset 5 pc\ncm 13 h x 5 l\n51\u002F4 x 13\u002F4\n1173.7\nPutti Barocchi\nBaroque Angels\nset 6 pc\ncm 10 h x 8 l\n33\u002F4 x 31\u002F4\n294\nBISQUIT\n",148,{"image":606,"text":607,"number":608},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.149.png","In silenzio e in ordine una teoria di \nfanciulle aspetta la decorazione che \ndonerà delicati colori, prima della \ncottura finale.\nA row of young girls, in silence and in \norder, wait for the decoration that will \ngive them subtle colour, before the final \ncooking.\nA R M AT I  D I  I N D O M A B I L E  V O L O N T À ,  PA S S I O N E  E  S P I R I T O\nC R E AT I V O  C E S A R E  E  S I LV I A V I L L A R I  H A N N O  D AT O  V I TA A\nU N A M A N I FAT T U R A C H E  A S O L A G N A ,  I N  V E N E T O ,  P R O S E G U E\nL A G R A N D E  T R A D I Z I O N E  D I  C A P O D I M O N T E .  L E  L O R O  A L I  D I\nP O R C E L L A N A S O N O  V O L AT E  I N  T U T T O  I L  M O N D O .  di Claude Jeancolas, foto Fulvio Francone\nA R ME D WITH IN DOMITA B LE  WILL,  PA S S ION  A N D C R E ATIV E  SP IR IT C E S A R E \nA N D S ILV IA V ILLA R I C R E ATE D A FA C TORY THAT,  AT S OLA GN A ,  IN  THE  V E N E TO \nR E GION ,  P UR S UE S  THE  GR E AT TR A DITION  OF  C A P ODIMON TE  C HIN A .  THE IR \nP OR C E LA IN  WIN GS  HAV E  F LOWN  A R OUN D THE  WOR LD.  Claude Jeancolas, photo Fulvio Francone\n",149,{"image":610,"text":611,"number":612},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.150.png","Per Cesare Villari la scuola finì presto. A quattordici \nanni lavorava in una fabbrica di porcellana. Questo \nnon gli dispiaceva, al contrario era affascinato da \nquel mondo. Curioso, voleva conoscere tutto, della \ncreazione e della produzione. Spesso chiedeva di \ncambiare di posto per meglio comprendere, la \nmodellatura, la cottura, ogni tappa del processo. \nAveva una ventina d’anni, cioè già una bella \nesperienza, quando arrivò nell’atelier una ragazza \ndi una quindicina d’anni, Silvia. Provava, anche \nlei, una vera passione per questo mestiere. Questo, \nforse, li avvicinò. Lei gli poneva molte domande. Si \ncapivano così bene che l’amore non fece molta fatica \na sbocciare e qualche anno più tardi si sposarono. \nIn due si sentirono forti. Chi ebbe per primo l’idea? \nChi spinse l’altro all’audacia? Un giorno decisero \ndi lasciare l’impresa per creare la loro. Villari \nnacque un mattino dell’ottobre 1967. “All’inizio, \nnon fu facile”, riconosce Cesare, ma l’entusiasmo \nsostenuto da una volontà indomabile permise loro \ndi vincere tutte le difficoltà. Agli inizi una decina, \nsono oggi una cinquantina a lavorare per Villari. \nCesare è felice, lo riconosce, ha avuto “una bella \nvita”: ha costruito una “bella” azienda e anche una \n“Bella” famiglia, oggi ben associata all’avventura \ndal momento che i suoi tre figli Alessandra, \nBarbara e Leone lavorano con loro e pure un \ngenero Jean Sebastien. Il nome di Villari è presente \nin tutte le capitali del mondo dai più improbabili \nPaesi, l’Iran, la Cecenia, l’Azerbaijan, la Lituania, \nil Dagestan… ai più tradizionali, il Giappone, \ngli Stati Uniti, la Cina… e, fiore all’occhiello, \nla marca brilla nel cuore del tempio ultimo del \ngrande gusto classico: da Harrod’s a Londra. Ogni \ngiorno Silvia e Cesare sono al lavoro, per inventare \nnuove forme, per perfezionare una tecnica, per \naiutare questi artigiani a generare cose ancora più \nbelle. Agli altri membri della famiglia la gestione \ne lo sviluppo. E’ facile questo lavoro in famiglia? \nCesare sorride: “non sempre semplice, siamo a \ncontatto tutto il giorno. Bisogna avere pazienza, \nmolta pazienza”, ripete come se gli tornasse \nalla memoria  qualche  avvenimento recente. \nDall’esterno il luogo di produzione non è granché: \ndei normali capannoni industriali. Bisogna entrare \nnell’atelier, là dove batte il cuore dell’azienda, \nper comprendere. Una sala molto grande. Luce \na profusione ancora più evidente perché tutto è \nbianco, come ricoperto da una leggera polvere di \ngesso che lo riflette. Un silenzio così assoluto come \nquello probabile di uno scriptorium di un antico \nmonastero. Un accatastamento incredibile, come \nl’antro di un alchimista dove campeggerebbe uno \nstrano serraglio, o come l’atelier di Babbo Natale \nche, artista, avesse rinunciato a produrre i giochi \nnormali. Qui si modellano petali di rosa, ciascuno \ndiverso dal vicino, come nella natura, e che vengono \nassemblati in fiori delicati. Là, un elefante che viene \ndipinto con un verde, scuro molto brutto: “oh non \nsi preoccupi, è oro, ma il colore non compare che \ndopo la cottura”. Là, in basso si applicano delle \ndecorazioni al pennello su delle coppe, più lontano \nsi vestono dei piccoli personaggi antichi. Delle \nprocessioni di angeli, in file ordinate aspettano il \ncolore, dei cavalli impennati non perdono la posa, \npronti a ricevere il loro rivestimento di cristalli. Si \ncomincia a sognare. Si sogna. In fondo: i grandi \nforni come altari supremi dove la terra si nobilita \ne i colori si risvegliano. Il piano inferiore è più \ntecnico. Le terre prima di tutto. “l’impasto viene \ndalla Francia, dalla Germania, dalla Spagna… Lo \nuniamo a ingredienti che doneranno alla porcellana \nil colore delicato e la sua durezza”. Su queste ricette \nsegrete Cesare si fa discreto come un grande chef. \nIn seguito le tappe assomigliano al processo della \nfusione del bronzo a cera persa: la modellatura, \nle forme, il taglio in pezzi, l’impronta nel gesso, \nla riproduzione in stampi di gomma, la posa del \nmateriale in uno strato sottile, la ricomposizione \ndel pezzo, l’inserimento di un punteruolo per \nsostenere i pezzi più grandi durante la cottura, \ni ritocchi prima della cottura, due o tre volte a \npiù di 1.200 gradi. Ogni tappa è un rischio. Ogni \n“incidente” obbliga a ricominciare da capo. La \ngrande scultura di Michael Jackson di Jeff Koons \nobbligò a scomporre in circa 100 pezzi diversi \nin seguito rimontati insieme. Un lavoro delicato \n“come per la costruzione di una casa, si assemblava \nla base poi si doveva attendere che si asciugasse \nper aggiungere i pezzi del livello superiore, poi si \naspettava… e così di seguito”, racconta Cesare. \nCentinaia di ore di lavoro e di inquietudine e \npoi questa immensa gioia, la vittoria ottenuta \ne la conferma della virtuosità, della capacità \nd’eccellenza. Lo stile Villari s’inscrive nella grande \ntradizione di Capodimonte, la produzione voluta a \nNapoli dal re Carlo di Borbone, nel XVIII secolo. \nCoppe, centro-tavola, lampadari, porta-candele… \nanimati di angeli, animali, personaggi. Il tutto \nspesso barocco, cioè animato di una vita, di un \nsoffio lucido affascinate. Allora, riservate ai palazzi \nantichi queste follie decorative di un altro secolo? \nOh, certo che no. Guardate una stanza minimale, \ntutta  bianca, un tavolo e delle sedie di una \nsobrietà che agghiaccia l’atmosfera. Aggiungete \nal centro della tavola un volo di angioletti paffuti \nin porcellana bianca e d’improvviso compare \nuna dolcezza di vivere, una gioia leggera. Qual è \nl’utilità decorativa di un elefante d’oro? Ebbene \nimmaginate un decoro molto contemporaneo \nriscaldato da una collezione etnica di terrecotte e \ndi sculture in legno d’Africa. L’elefante al cuore \ndi questo insieme esalterà subito il chiaroscuro di \nterra e di ebano. Non si deve dimenticare mai che \nla decorazione è un gioco. In questo gioco Villari è \nmaestro di fantasmagorie. C.J.\nLa fabbrica d’angeli\nMentre Silvia Villari apporta \nun ultimo ritocco a un modello\nclassico, una dea di Canova si \nmeraviglia ancora del suo\ndrappeggio Swarovski.\nWhile Silvia Villari makes a final \ntouch-up, a Canova’s goddes is \nstill amazed by her drapery full \nof Swaroski.\n",150,{"image":614,"text":615,"number":616},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.151.png","Ogni angolo dell’atelier è una scena \ndi teatro dove degli attori di biscuit \nsembrano ripetere,\ndiscretamente la loro parte\nnell’opera del mondo.\nThe atelier is like a theatre \nwhere bisquit’s actors seems \nto repeat, discretely, their part in\n the “opera” of the World.\n",151,{"image":618,"text":619,"number":620},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.152.png","School ended early for Cesare Villari. At the age of 14 he was \nalready working in a porcelain factory, but he didn’t mind, on \nthe contrary he was fascinated by that world. Being inquisitive, \nhe wanted to know everything about creation and production. \nHe often asked to change place to better understand the molding, \nthe cooking and every single step in the process.\nHe was in his 20s and he had already a lot of experience when \na 15 years old girl came into the atelier, her name was Silvia. \nShe too had a great passion for this job, maybe this brought \nthem closer. She asked him a lot of questions. They got on so \nwell that love didn’t take long to come and a few years later \nthey got married. They felt strong together. Who had the idea? \nWho pushed the other to dare? One day they decided to leave \nthe factory to build a factory on their own. The firm Villari born \non an October morning of 1967. “At the beginning it wasn’t \neasy” admits Cesare, but the enthusiasm, supported by an \nindomitable will, allowed them to get over all the difficulties. \nAt the beginning they were only ten, but now about fifty people \nwork for Villari. Cesare is satisfied, he has had a “great life”: \nhe built a “great” factory and a “great” family, nowadays his \ntwo daughters Alessandra and Barbara , a son Leone and a son-\nin-law Jean Sebastien work for the company. The name Villari \nis well known all over the world, there are Villari’s shops in \nthe most unlikely Countries like Iran, Chechnya, Azerbaijan, \nLithuania and Dagestan but even in the more traditional ones: \nJapan, USA, China and, last but not the least, the brand shines \nat Harrod’s in London. Every day Silvia and Cesare are at \nwork, looking for new shapes, trying to improve the technique \nand helping their craftsmen to create even more beautiful \nobjects. The other family members run the administration and \nthe development of the company. “Is this family work easy?” \nCesare smiles, “It is not always simple, we are in contact every \nsingle day. We must be patient, very patient!” he repeats like if \nsome recent event had come back to his mind. From the outside \nthe factory is not outstanding: just some industrial sheds. To \nunderstand you have to enter the atelier where the heart of \nthe company beats. A very large hall with a profusion of lights \nwhere everything is white, made even more so by a thin layer of \nwhite chalk covering everything. Absolute silence, like in a old \nmonastery. An incredible amount of objects, similar to the cave \nof an alchemist where a strange menagerie might stand out, or \nFather Christmas’ workshop who, as an artist, might have given \nup producing toys. Here rose petals are shaped, one different \nfrom the other, like in nature, and then they are assembled into \ndelicate flowers. There, an elephant is being painted in a ugly \ngreen “Don’t worry, it’s gold, but the real colour appears only \nafter the cooking!”. Over there decorations are applied with \na paintbrush to some goblets. Not far off some little ancient \ncharacters are being dressed. Processions of angels, in ordinate \nrows are waiting to be colored, rearing horses do not lose their \nbalance while waiting to receive their coating of crystals. We \nstart dreaming. At the end: the big kilns, like supreme altars \nCesare Villari\nLa fabbrica d’angeli\nwhere earth is ennobled and the colors wake up. Downstairs is more \ntechnical. “The mixture of clays is from France, Germany, Spain.. we add \nit to the ingredients that will give the porcelain the subtle colour and its \nhardness”. On these secret recipes Cesare becomes secretive like a great chef. \nAfterwards the stages looks like the process of bronze investment casting: \nthe molding, the shapes, the cutting into pieces, the imprint in the plaster, \nthe reproduction in rubber molds, the laying of the material in a thin layer, \nthe recomposition of the piece, the insertion of a punch to support the larger \npieces while cooking, two or three times at more than 1200°. Every step is \na risk. Every mishap forces to start over again from the beginning. The big \nMichael Jackson’s statue by Jeff Koons forced the Villari team to break it up \nin almost 100 different pieces, afterwards reassembled together. A delicate \nwork “like when you build a house, you have to assemble the base and then \nyou have to wait until it is dry and then you add the pieces for the higher \nlevel, and then you have to wait again.. and so on”, says Cesare. Hundreds of \nhours of hard work and anxiety and than this great joy, the victory obtained \nand the confirmation of virtuosity, capacity and excellence. Villari’s style \nenters in the big tradition of Capodimonte, the production started in Naples \nby the Bourbon King Charles in the 18th Century. Goblets, centre-pieces, \nchandeliers, candlesticks.. animated by angels, animals and characters. All \noften baroque, animated by a light of their own, with a fascinating shiny \nglow. “So do you reserve these decorations of another century for the ancient \npalaces?” “Of course not! Look at a minimal room for example, all white, a \ntable and some chairs, of a chilling whiteness. Put in the middle of the table \nsome chubby angels in white ceramic and all of a sudden the joie de vivre \nappears. What’s the decorative utility of a golden elephant? Imagine a very \ncontemporary décor warmed up by an ethnic collection of terra-cotta and \nwooden African sculptures. The elephant in the middle of this will exalt the \nchiaroscuro of terra-cotta and ebony. Never forget that decoration is like a \ngame, and in this game Villari is a master of phantasmagoria.\nMarchi a fuoco Villari\n",152,{"image":622,"text":623,"number":624},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.153.png","La fabbrica Capodimonte fu fondata da Carlo di Borbone, re di Napoli e delle \nDue Sicilie nel 1743. Quando nel 1734 conquistò il regno di Napoli, vincendo \nl’opposizione degli Austriaci, con sé portò consiglieri esperti artisti le collezioni \nd’arte della madre, Elisabetta ultima dei Farnese, per le quali fece costruire \nil palazzo di Capodimonte. Tra le sue iniziative culturali contiamo la famosa \nmanifattura di porcellane. Il suo interesse per la porcellana nacque quando \nsposò Maria Amalia Walburg di Sassonia nel 1738, nipote di Augusto Forte di \nSassonia che aveva fondato nel 1710 la prima fabbrica di porcellana in Europa \nMeissen. Nella dote della sposa c’erano infatti numerose casse contenenti servizi \nin porcellana, proprio per questo motivo nacque l’interesse di Carlo di Borbone \nper la produzione in proprio della porcellana. Nel 1740 ne studiava già i metodi \ndi produzione tentando qualche esperimento nei cortili del palazzo reale di \nCapo di Monte sopra Napoli. I primi passi della manifattura avvennero ad \nopera di Vittorio Shepers, dopo vari tentativi, riuscì ad ottenere una favolosa \ned unica porcellana tenera. Molti colori a smalto si ordinavano a Venezia e \na Dresda. Nel 1743, i risultato furono così soddisfacenti che Carlo ordinò \nall’architetto Ferdinando Sanfelice di progettare l’edificio definitivo della \nfabbrica nel parco di Capodimonte. Arrivarono artisti e pittori molto conosciuti \nda ogni ,luogo. Nel nuovo edificio operai ed artisti vivevano, pur tra litigi e \nsotterfugi, come reclusi di una piccola comunità monastica operosa, sotto la \nvigilanza dell’economo Aniello Andrea Carolla. Nel solo mese di dicembre \nuscirono dai forni di Capodimonte 1970 pezzi intatti: tabacchiere, coppette, \nteiere, caffettiere, chicchere, pomi di bastone e piattini.I collaboratori di \nre Carlo presero spunto dalle produzioni ormai famose di Meissen Ginori e \nVenezia. Tra il 1743-45 il capo modellatore Giuseppe Gricc creò una serie di \npersonaggi tratti dalla Commedia dell’Arte Italiana, tra i quali i vari Pulcinella, \nPantalone, Colombina e Arlecchino mentre giocano a carte o attorno ad un \npiatto di spaghetti. Altre statuine rappresentavano soggetti religiosi mitologici, \nmusicanti, cantanti contadini e pescatori. Questi primi pezzi non erano in stile \nRoccocò né erano ancora quello che oggi viene classificato il Capodimonte. La \nfabbrica di Capodimonte usò come marchio il giglio dei Borboni, talvolta in blu, \ntalvolta in oro. Nelle statuine il marchio è generalmente impresso nell’impasto, \ndentro un cerchio. Anno dopo anno la manifattura cresceva, ingaggiava nuovi \nartisti, aumentava la produzione, variando nelle forme e nelle decorazioni, \narricchendola di pezzi importanti. Nel 1745 a Napoli fu aperto il primo \nnegozio. La produzione era su un livello di altissimo artigianato artistico; vi \nerano circa 58 addetti, ed ogni artista importante o influente tendeva a portare \ncon sé i figli parenti e discendenti sistemandoli in settori diversi facendone \npropri apprendisti e successori. Nel 1759 Carlo, con suo grande dispiacere, \npassò ad occupare il regno di Spagna e lasciò il regno al figlio Ferdinando, e ad \nun consiglio di tutela, nominato dal primo ministro Tanucci. Su tre navi al suo \nseguito Carlo fece imbarcare la sua amata manifattura di porcellane (artisti, \nlavoranti, macchinari, attrezzature e quasi 5 tonnellate di pasta). Alcuni artisti \npartirono, ma altri rimasero a Napoli. Prima di partire fu distrutto e demolito \ntutto quello che avrebbe potuto divulgare il segreto: dalle fornaci ai resti delle \nporcellane di scarto, che vennero sepolte nel parco. Le porcellane finite furono \ns t o r i a  d e l  c a p o d i m o n t e\nF A S I  D I  L A V O R A Z I O N E  -  S t a g e s  o f  p r o c e s s i n g\nLa Polvere di Porcellana \nviene impastata con l’acqua.\nPorcelain dust is knead \nwith water.\nSala Colaggio\nCasting Room\nFase di Colaggio, la \nPorcellana liquida viene \ncolata negli stampi in gesso.\nCasting stage, liquid \nporcelain is strained into \nplaster molds.\n304\n",153,{"image":626,"text":627,"number":628},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.154.png","vendute con un buon incasso, ancora fino al 1765. Il re Carlo costruì subito una \nnuova fabbrica vicino a Madrid (Buon Retiro) ma benchè all’inizio si producesse \nuna porcellana simile alla precedente tuttavia questa un po’ alla volta perse il \nsuo smalto iniziale e verso il 1803 da una produzione tipicamente artistica  si \npassò a produrre articoli in pasta dura per uso comune. Terminava così la prima \n“età dell’oro” quella compresa tra il 1743 e il 1759. Quando re Carlo partì \nper la Spagna, Ferdinando IV, volle rinnovare la tradizione paterna facendo \nsorgere una nuova manifattura a Napoli; nel 1780 si aprì così una nuova fase \nper la manifattura che, nei quindici anni seguenti, sarà caratterizzata da una \nmaggiore intensità e qualità della produzione. Fu introdotta la produzione del \nbisquit cioè la porcellana opaca, fino ad allora la porcellana era stata lucida. \nIl marchio con la corona e la “N” di Napoli è datato da questo periodo. A \nquesto punto la Rivoluzione Francese si fece sentire minacciando direttamente \nil Regno delle due Sicilie e causando guai seri alla fabbrica. Quando Giuseppe \nBonaparte instaurò un governo napoleonico e si fece incoronare re di Napoli, \nla fabbrica cominciò una breve e triste decadenza. Quello che rimase di questo \nenorme patrimonio, fu acquistato dalle manifatture di Doccia vicino a Firenze. \nNel 1896 la fabbrica Doccia (Ginori) si fuse con la fabbrica milanese Richard \ne così si creò il nome della Richard-Ginori. Ci fu un periodo che sembrò \naver cancellato questa parte di storia italiana finchè nel 1925, prendendo \nspunti e passione dai maestri di un tempo, fu fondata vicino a Milano una \nfabbrica di porcellana dove alcuni tra i più dotati scultori diedero vita alla \nmoderna tradizione del Capodimonte. Gradualmente il Capodimonte, come lo \nconosciamo oggi, si è sviluppato fino a rivaleggiare con le glorie del passato. \nSi è evitato di copiare gli antichi Maestri ma si è continuata la tradizione che è \nstata arricchita con l’originalità e il realismo e lo humour attuali. E’ nata così \nattorno a questa fabbrica e a quest’area una scuola vera e propria. Sono sorte \naltre ottime fabbriche dove hanno lavorato e lavorano scultori e modellatori \nfamosi. Sembra curioso ad alcuni il fatto che siano proprio aziende sorte nella \nzona del milanese e del Veneto a portare avanti una tradizione nata a Napoli \ninfatti possiamo affermare che l’ottanta percento della produzione di figurine \nCapodimonte viene prodotta ed esportata in tutto il mondo proprio dal Veneto. A \nchiunque voglia collezionare queste statuine, ricordiamo che esistono fabbriche \nnon italiane che imitano il Capodimonte e a volte persino il marchio. Vi sono \nimportatori che addirittura fanno produrre statuine di bassa qualità in Paesi \ndell’Estremo Oriente e le rivendono poi come un prodotto tipico italiano solo \nper aver applicato il marchio “N”. E’ fondamentale dunque che il collezionista \ncontrolli prima di acquistare una statuina il cartellino di garanzia e si assicuri \ndella provenienza della stessa. E’ importante che la produzione Capodimonte \nnon venga confusa con quelle statuine prodotte con un processo in cui si usa la \nresina e un induritore chimico. Alla lavorazione interamente manuale e a due \ntre cotture a temperatura di 1280 gradi si sostituisce un metodo di lavorazione \nin cui la statuina si indurisce e si dipinge a freddo. Il risultato è una imitazione \ndella porcellana che non può essere confusa con la vera abilità artistica che \nsolo la vera porcellana  può dare e non dovrebbe mai essere descritta e venduta \ncome porcellana di Capodimonte come fanno molti rivenditori impreparati.\ns t o r i a  d e l  c a p o d i m o n t e\nDopo che l’acqua e stata \nassorbita dal gesso si puo \naprire lo stampo.\nAfter water has been \nabsorbed by plaster you can \nopen the mold.\nDelicatamente la figura viene \nestratta dallo stampo.\nThe figure is pulled gently \nout of the mold.\nGli oggetti più grandi \nnecessitano di un tempo più \nlungo di riposo all’interno \ndello stampo.\nBigger objets repuire to stay \nmore time inside the mold.\n306\n",154,{"image":630,"text":631,"number":632},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.155.png","The Capodimonte porcelain factory was founded by the Bourbon King Charles \nof Naples in 1743. When he conquered the Kingdom of Naples and Sicily, \novercoming the opposition of the Austrians, he brought to Naples his advisers, \nhis artists and even his art collections inherited from his mother, Elisabetta, the \nlast of the Farnese ducal family. And he straightaway built the Capodimonte \nPalace to house the collection. One of his various artistic projects was the famous \nporcelain factory. He had become interested in porcelain after marrying Maria \nAmalia Walburg of Saxony in 1738, the granddaughter of Augustus (II) \nThe Strong of Saxony, who in 1710 had founded Europeís first porcelain factory, \nMeissen. The bride’s dowry in fact included numerous cases containing porcelain \ndinner and tea services, and this was what first kindled Charles’ interest in \nproducing his own porcelain. The first experiments in making porcelain began \nin the courtyards of the royal palace at Capo di Monte above Naples in 1740 \nwith the aid of Vittorio Schepers, who, after a number of attempts, finally came \nup with a unique, wonderfully workable soft-paste for the porcelain. Many of \nthe enamel paints used were ordered direct from Venice and Dresden. By 1743, \nthe results were so good that King Charles ordered the architect Ferdinando \nSanfelice to design a special building for the factory in the Capodimonte park. \nWell-known artists and painters arrived from far and wide. In the new building, \nworkers and artists lived - and argued and schemed - like hermits in a small \nhard-working monastic community, under the auspices of the accountant Aniello \nAndrea Carolla. In the month of December alone, the kilns of Capodimonte \nproduced 1970 unbroken pieces: snuff-boxes, goblets, teapots, cups, walking-\nstick handles and saucers. King Charles’ assistants took their inspiration from \nthe famous Meissen, Ginori and Venezia companies. Between 1743 and 1745 \nthe chief modeller Giuseppe Gricc created a series of figurines from the Italian \ntradition of Commedia dell’Arte (popular theatre), including the characters of \nPunch, Pantaloon, Columbine and Harlequin seen playing cards or sitting at a \nplate of spaghetti. Other figurines represented religious or mythological subjects, \nmusicians, singers, peasants and fishermen. These first pieces were neither in \nthe Rococo style, nor in what we now refer to as the Capodimonte style. The \nCapodimonte mark at the time was a light-blue or gold Bourbon lily. In the \nfigurines, the mark is generally set into the paste, inside a circle. Year by year, \nthe company grew, hiring new artists, increasing output, adding new shapes \nand decorations, enriching the collection with important pieces. In 1745, the \nfirst shop was opened in Naples. Production had reached extremely high levels \nof artistry and craftsmanship. There were around 58 employees working in the \nfactory, and every important or influential artist tended to bring along with \nthem their children, relatives and their offspring, setting them up in various \ndepartments, taking them on as their apprentices and successors. To his great \ndisappointment, King Charles had to depart from Naples in 1759 to become \nKing of Spain, leaving his Neapolitan kingdom to his young son Ferdinand and \na guardianship council appointed by the Prime Minister Tanucci. Following \nKing Charles’ retinue to Spain were three ships laden with his beloved porcelain \ncompany (artists, workers, machinery, equipment and almost 5 tonnes of clay). \nA good number of the artists left for Spain, but many remained in Naples. \nBefore leaving, however, King Charles had everything demolished or destroyed \nH I S T O R Y  o f  c a p o d i m o n t e\nEsce dallo stampo in\nparti diverse.\nThe object comes out from the \nmold in different pieces.\nFase di ritocco, l’oggetto viene \nrifinito dai maestri artigiani.\nTouch up stage, the master \ncraftsmen put the finishing \ntouches a to the object.\nLe parti vengono unite rifinite \ne ritoccate fino ad ottenere la \nfigura completa.\nThe pieces are joined, finished \nand retouched to obtain the \ncomplete picture.\n308\n",155,{"image":634,"text":635,"number":636},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.156.png","that could reveal the secret of the  porcelain. From the kilns to the remains of \nbroken items, everything was buried in the park. On the other hand, finished \npieces of porcelain were sold off at a good profit, right up until 1765. In Spain, \nKing Charles straightway built a new factory near Madrid (Buon Retiro) which \nproduced similar porcelain but gradually lost its initial freshness, so much so \nthat towards 1803 the factory stopped its more artistic production and started \nmaking items in hard-paste for everyday use. This signalled the true end of \nthe first “golden age” of Capodimonte, a period which had reached its zenith \nbetween 1743 and 1759. After King Charles had left for Spain, King Ferdinand \nIV decided he wished to continue in his father’s tradition. In 1780 he set up a \nnew porcelain factory, and a new phase of porcelain-making began in Naples. \nDuring the following fifteen years, Capodimonte porcelain was to achieve an \neven greater output and a greater quality level. The production of biscuit \n- unglazed porcelain - was begun, all earlier pieces having a shiny, glazed \nsurface. The mark with the crown and “N” for Naples is from this period. But \nat this point, the French Revolution made itself felt, threatening the Kingdom of \nNaples and Sicily directly and causing serious problems for the factory. When \nGiuseppe Bonaparte set up a Napoleonic government and crowned himself \nKing of Naples, the factory began its short, sad decline. What remained of the \nimmense heritage was bought by the Doccia porcelain works close to Florence. \nIn 1896, the Doccia (Ginori) factory was merged with the Milanese company \nRichard, and thus the name Richard-Ginori came into being. For a certain \nperiod, this story seems to have been halted, but in 1925, taking the cue from \nthe skills and passion of craftsmen of the past, a new porcelain factory was set \nup near Milan where some of the most able sculptors gave life to the modern \ntradition of Capodimonte. Gradually Capodimonte as we know it today \ndeveloped, to the point that it rivals the glories of the past. Copies of the old \nmaster-modellers works have been deliberately avoided, and the old traditions \nhave been imbued with present-day originality, reality and humour. And as a \nresult, a true school has been born around the factory and around the area. \nOther excellent factories have opened where famous sculptors and modellers \nwork or have worked. For some, it is strange to think that companies based near \nMilan and in the Veneto region are today carrying on a tradition developed in \nNaples, and indeed eighty percent of Capodimonte figurines are now produced \nin the Veneto region and exported throughout the world. Anyone wanting to \ncollect these figurines should remember that there are factories outside Italy \nthat imitate Capodimonte, at times even using the trademark. There are even \nsome importers who bring in low-quality pieces produced in the Far East and \nsell them as Italian pieces thanks to the “N” mark found on the base. It is \ntherefore essential for collectors to check the guarantee certificate carefully \nbefore buying a piece in order to ascertain the origin of a piece. Capodimonte \npieces must not be confused with figurines produced using resin and a chemical \nhardener. Instead of a totally hand-made piece that has been fired two or three \ntimes at temperatures of up to 1280 C, these copies are hardened and painted \nat room temperature. The result is an imitation porcelain that is poles apart \nfrom the true artistry that only porcelain cangive, and such pieces should never \nbe sold as Capodimonte porcelain as many unscrupulous dealers attempt to.\nH I S T O R Y  o f  c a p o d i m o n t e\nAnche tutti i fiori vengono \ncreati singolarmente uno ad \nuno dai maestri artigiani.\nAll the flowers too are created \none by one by the master \ncraftsmen.\nLe singole rose vengono \ndelicatamente composte \npetalo per petalo, è un \nlavoro che richiede anni di \nesperienza.\nSingles roses are gently \nassambled, petal by petal, \nthat’s a work that requires \nyears of experience.\nAlcuni oggetti vengono poi \nrifiniti con l’applicazione di \npiccoli e delicatissimi fiori in \nporcellana.\nSome objects are then finished \nby putting in little porcelain \nflowers.\n310\n",156,{"image":638,"text":639,"number":640},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.157.png","Acquistando un oggetto Villari puoi essere invitato a diventa-\nre membro del VILLARI CLUB: un mondo di privilegi che è \nil nostro modo di esprimere il ringraziamento per fare parte \ndel VILLARI WORLD.\nPuoi registrarti sul sito: www.villari.it utilizzando la password \nindicata. Riceverai la newsletter e le ultime informazioni ri-\nguardo novità ed eventi.\nAs a Villari customer, you can join the VILLARI CLUB. Being \na Member of this Club offers you a wide range of benefits. \nThis is our way to thank you for being part of the VILLARI \nWORLD. \nYou can register on our website: www.villari.it, entering the \npassword you will find on the back of the enclosed card. You \nwill receive our newsletter and the latest information about \nproduct novelties and upcoming events.\nV I L L A R I  W O R D\n312\nLe fasi di cottura della \nporcellana sono generalmente 4:\n1- Cottura a 800°C detta  \n \nbiscotto.\n2- Cottura a 1300°C durante  \n \nla quale l’oggetto subisce  \n \nun calo del 20% della   \n \npropria grandezza.\n3- Cottuira del colore\n \na 800°C.\n4- Eventuale cottura\n \ndell’oro a 800°C.\nUsually porcelain’s cooking \nstages are 4:\n1-  800°C cooking called  \n \n \n“bisquit”.\n2- 1300°C cooking during \n \nwhich the object is \n \nsubjected to a 20%.\n3-  800°C color cooking.\n4-  Possible 800°C gold cooking.\nIn questa figura è evidenziata \nil calo fisico dell’oggetto, del \n20%, prima e dopo la cottura \na 1300°C. L’oggetto a destra \nè lo stesso oggetto di sinistra \ndopo la cottura.\nIn this picture you can see the \n20% decrease in size suffered \nby the object, before and after \nthe 1300°C. cooking. The two \nobjects are the same, but the \none on the left is the result of \nthe cooking.\nGli oggetti vengono dipinti a \nmano da maestri artigiani.\nThe object are hand painted \nby master craftsmen.\n313\n",157,{"image":642,"text":643,"number":644},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.158.png","Certificate of Authenticity\nAUTHORIZED DEALER\nWe hereby certify that item\n n° .........................................\nis individually hand produced\nin our factory in Italy\nby our highly skilled craftsmen\nfollowing the original antique techniques.\nThis certificate guarantees\nthat this work of art is a part\nof VILLARI Collection\nand proves its autenticity.\nSilvia Andolfatto Villari\nCesare Villari\nCertifichiamo che l’articolo\nn° .........................................\nè stato interamente prodotto a mano\nnella nostra azienda in Italia dai\nnostri abili artigiani, \nseguendo antiche tecniche.\nQuesto Certificato garantisce\nche quest’opera d’Arte\nè parte della Collezione VILLARI\ne ne prova l’autenticità.\nSilvia Andolfatto Villari\nCesare Villari\nCertificato di Origine\nRIVENDITORE AUTORIZZATO\nOgni oggetto VILLARI è facilmente identificabile \ncontrollando i marchi apposti.\nLe piccole imperfezioni quali irregolarità  nel \ncolore o nella superficie, sono chiara garanzia di \nun prodotto interamente realizzato a mano.\nEvery VILLARI artefact can be easily identified \nby checking the accompanying trade marks. \nMinor imperfections, such as irregularities in \ncolour or surface finish, are a further guarantee \nthat the product is entirely made by hand.\n314\nIl carrello viene delicatamente \nspinto all’interno del forno, la \ncottura durerà almeno 24 ore.\nThe hand-cart is gently \npushed inside the kiln, the \ncooking will last at least 24 \nhours.\nAll’interno del forno i colori \nprendono vita è l’oro che era \ndi color nero prende il suo \ncolore splendente.\nInside the kiln the colours \ncome to life, the gold, that \nwas black, takes on its bright \ncolour.\nOgni oggetto viene testato \ncon 4 controlli di qualità e \nsuccessivamente imballato \naccompagnato dal proprio \ncertificato di  origine.\nEach object is tested with four \nquality controls, then it is \npacked with its certificate of \nAuthenticity.\n",158,{"image":646,"text":647,"number":648},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.159.png","c o l o r s  c a r d\nVerde Hermes  (\u002F2)\nHermes Green  (\u002F2)\nVerde Pisello  (\u002F2)\nPea Green  (\u002F2)\nGiallo senaPe  (\u002F2)\nsenaPe Yellow  (\u002F2)\nVerde malacHite  (\u002F2)\nmalacHite Green (\u002F2)\nVerde oliVa  (\u002F2)\noliVe Green  (\u002F2)\nGiallo marmorizzato  (\u002F2)\nmarbled Yellow  (\u002F2)\nblu laPislazzuli  (\u002F2)\nlaPis-lazuli blue  (\u002F2)\nnero lucido  (\u002F8)\nsHinY black  (\u002F8)\nblu indaco  (\u002F2)\nindaco blue (\u002F2)\nnero oPaco  (\u002F8)a\nmatt black  (\u002F8)\noro zeccHino  (\u002F4)\nzeccHino Gold  (\u002F4)\nPatinato scuro  (Pl\u002F1)\ndark Patinated  (Pl\u002F1)\nPatinato sePPia  (P\u002F1) \nsePia Patinated  (P\u002F1) \ntiGrato  (\u002F3)\nstriPed  (\u002F3)\nPlatino  (\u002F6)\nPlatinum  (\u002F6)\nsHinY Gold  (\u002F4)\noro mat Verde  (\u002F4)\nGreen mat Gold  (\u002F4)\niVorY wHite  (\u002F1)\nPesca  (\u002F2)\nPeacH  (\u002F2)\nliGHt Pink  (\u002F2)\nPruGna  (\u002F2)\nPlum  (\u002F2)\ncoral red  (\u002F2)\nGiallo cHiaro  (\u002F2)\nsenaPe liGHt Yellow  (\u002F2)\nlilac  (\u002F2)\nturcHese  (\u002F2)\nturquoise  (\u002F2)\nazzurro  (\u002F2)\nazure  (\u002F2)\n",159,{"image":650,"text":651,"number":652},"\u002Fmedia\u002Fimages\u002Fa5\u002Ff7bb39137f08295bc5bab02291b7f8-281b095cd5.160.png","BIBLIOGRAFIA:\n- L’ARTE DELLA PORCELLANA IN ITALIA, di Alessandra Mottola Molfino - BRAMANTE EDITRICE VOL. 1\n- L’ARTE DELLA PORCELLANA IN ITALIA, di Alessandra Mottola Molfino - BRAMANTE EDITRICE VOL. 2\n- ENCICLOPEDIA FONDAMENTALE DELLA PORCELLANA, a cura di David Battie - SOTHEBY’S BRAMANTE ED.\n- ENCYCLOPEDIA OF DECORATIVE ARTS, 1890-1940, Oxford, 1978\n- LA PORCELLANA IN EUROPA, Novara, 1968 Backer H.E.\n- LE PORCELLANE DI CAPODIMONTE, Milano, 1925 Eisner de Eisenhof\n- LE PORCELLANE DI CAPODIMONTE E DI NAPOLI, Napoli 1932, Eisner de Eisenhof \n- MASCHERE DELLA COMMEEDIA DELL’ARTE, di Gianfrancesco Malipiero - EDIZIONI CAPITOL BOLOGNA  \n- MARIECLAIRE MAISON ITALIA, Novembre 2010\n- Giacomo CASANOVA - storia della mia vita - (2 voll.) - Newton & compton ROMA\n- Come fiori nella polvere, di Gibran khalil - 2010 piemme a cura di haidar H.\n- Il grande libro di Gibran, di Gibran khalil - 2010 BarBera\n- Il profeta, di Gibran khalil - 2010 gherardo Casini editore\n- Amleto, di William Shakespeare - The complete works a cura del prof. Peter Alexander - Collins london & Glasgow, 1960\n- Cercasi amore disperatamente, di Federica Bosco - Newton compton\n- Intervista farah fawcett\n- CosÍ parvó zaratustra, di Friedrich Wilhem Nietzche - 2010 giunti demetra\n- I segreti di versaille, di Laura Savani\n- la gioia di amare, 365 meditazioni quotidiane, di Teresa di Calcutta - MONDADORI\n- una vita con un saggio, di Joseph Conrad autore Maupassant Guy de  - BUR Biblioteca Univ. Rizzoli 2006\n- dionysos mito e mistero atti del convegno di studi, (Comacchio, Novembre 1989) - EDizioni Liberty House 1991\n- Dizionario mito-ermetico, nel quale si trovano le allegorie favolose dei poeti, le metafore,\n  gli enimmi e i termini barbari dei filosofi ermetici , Autore Pernety Antoine Joseph - EDITORE PHOENIX\nA r t  D i r e c t o r\nBarbara Villari\nC o n c e p t  b y\nLABORATORIO GRAFICO BST\nR o m a n o  d ’ E z z e l i n o  ( V I ) \nP h o t o s  b y\nPHOTOPIÙ\nB a s s a n o  d e l  G r a p p a\nP h o t o s  b y\nFULVIO FRANCONe\nP r i n t e d  b y \nLABORATORIO GRAFICO BST\nR o m a n o  d ’ E z z e l i n o  ( V I )\nS p e c i a l  t h a n k s  t o\nVILLARI BOUTIQUE\nTe h e r a n\nCLAUDE JEANCOLAS\nD i r e t t o r e  M a r i e c l a i r e  M a i s o n\nContessa Giorgina Mameli Giustiniani \nper gentile concessione\nPietro e Rosline Vangesten Ove\nper gentile concessione\nG e n n a i o  2 0 1 1\nVILLARI\nREGIONE DELVENETO\nRealizzato con il contributo della Regione 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