"Great and changeable is the destiny of man, as of all those things, or small or large each of which loves to surround himself. The objects faithfully and quietly escort the life of a man, a family of several generations. Man passes and the object is to remember, to testify, to evoke the one who is no more, to reveal some secrets sometimes jealous that face him, his eyes, his voice tenaciously concealed". The "House of Life, with all his memorable items is grown together with the lives of its inhabitants entwining inextricably; so only through its objects and the light reflected in the mirrors can be perceived with masterful acuity the rumble of tastes and echoes in literature and art. Gradually, the naked and strict rooms were filled with objects that the inhabitants discovered to love for a kind of predestination of taste in which expressed a critical assessment ahead of its time that maybe just today we can appreciate in its composite consistency. Objects often neglected by pompous histories of arts, almost despised, often come from distant countries have given Villa his unmistakable stamp. It is thus formed with the passing of years, a "living museum" only because it is a place where the invisible patina of fetish remains unchanged that with a strong faculty suggestive is satisfied with fragments and scraps of truth. So we wander in these rooms like in an enchanted forest that holds a powerful artifice separated from immediate life, but just to capture the secret life of reflected images in the mirrors, which are already shifted a bit 'out of life, already made frames , thanks to the icy crystal eclogue that separates them as the transparent wall of an aquarium separates it from the ordinary life of the world of the silent and magnificent creatures that move like apparitions among rocks, mosses, corals and constellations of tiny air bubbles.


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The Villa, according to  the spirit of "Wunderkammer" that  wanted to embrace within the "four walls" of a limited repertoire of the world constituting collections in which science, nature and the scientific and artistic creations were a balance of mutual interpenetration, has regained this syncretic "system of wonder" by opening its doors to contemporary artists that represent the presence of the marvelous through the use of different materials or combinations of "naturalia " and "artificialia" and this phenomenon, which has come back from time to time in the history of collectibles and artistic creativity., in the dialectical relationship of conflict and alliance between homo faber and the natural world. The nature arises in contemporary art as a valuable alternative to the scientific-technological dimension, allowing you to get out of the flatness of everyday to recall arcane possibility imaginative and wonderful. The feeling of the sublime is felt while admiring the starry sky above us test the subjective feeling that what you see beyond his own sensibility and therefore posits an infinite that not only our senses fail to grasp but even our imagination can to embrace in a single intuition. From here, a restless pleasure that makes us feel the greatness of our subjectivity, capable of wanting something we cannot have. So man invents an obsession, a vertigo, a list, a form of physical representation of infinity, because in fact it does not end, not ends in shape.