Under the beautiful vaults of the room stands the Great Genesis n.4, 1960 by Antonietta Raphaël (Kovno, Lithuania, 1895 - Rome 1975), a plaster model prepared for a 1960 bronze, and behind it The great Genesis n.2, 1947. «I have always worked on a certain subject: the mother with the child, that is, genesis and motherhood. By maternity I mean the beginning of the world, the beginning of things, of all things "it is in this affirmation of Raphaël that the reading of the Great Genesis, n.4, is best expressed. The absence of legs, accentuates the concept of genesis, offers the visitor the opportunity to understand how the production process of a sculpture of such large dimensions took place. Also in the sculpture Bust of Simona, 1937-1938, the private work of a precise identity, is shown in its pure carnality, in all its energetic vitality, this small bust "carries" her mutilations like a contemporary ancient statue.

Under the beautiful vaults of the room stands the Great Genesis n.4, 1960 by Antonietta Raphaël (Kovno, Lithuania, 1895 - Rome 1975), a plaster model prepared for a 1960 bronze, and behind it The great Genesis n.2, 1947. «I have always worked on a certain subject: the mother with the child, that is, genesis and motherhood. By maternity I mean the beginning of the world, the beginning of things, of all things "it is in this affirmation of Raphaël that the reading of the Great Genesis, n.4, is best expressed. The absence of legs, accentuates the concept of genesis, offers the visitor the opportunity to understand how the production process of a sculpture of such large dimensions took place. Also in the sculpture Bust of Simona, 1937-1938, the private work of a precise identity, is shown in its pure carnality, in all its energetic vitality, this small bust "carries" her mutilations like a contemporary ancient statue.

In the first courtyard of the Musma, on the wall, high up along the stairs leading to the noble floor, a morse code launches a signal, a short distance communication, a visual signal that has a very strong meaning in its translation, silently the various combinations of points and lines, determine a Heimat word. A German word that has no equivalent in the Italian language. It is often translated as "Home", "Little country", or "Birthplace" and indicates the territory in which you feel at home because you were born there, spent your childhood there, or speak the language there. of the affections. A work that hides an urgency, that of giving voice to our land, of giving voice to a place that has kept and still keeps stories that we have forgotten or better still that today it is necessary to return to listen.

In the first courtyard of the Musma, on the wall, high up along the stairs leading to the noble floor, a morse code launches a signal, a short distance communication, a visual signal that has a very strong meaning in its translation, silently the various combinations of points and lines, determine a Heimat word. A German word that has no equivalent in the Italian language. It is often translated as "Home", "Little country", or "Birthplace" and indicates the territory in which you feel at home because you were born there, spent your childhood there, or speak the language there. of the affections. A work that hides an urgency, that of giving voice to our land, of giving voice to a place that has kept and still keeps stories that we have forgotten or better still that today it is necessary to return to listen.

The path between the works of Musma closes in the VII hypogeum with "La pietra scartata" a crucifixion, in which the artist chooses to empty the body of Christ of matter, hinting as if it were real flesh, thanks to his great pictorial ability, the ends of the arms. His is a Christ without a cross, a man who takes on suffering, becomes absence and evanescence, is fluid substance, is in continuous perpetual movement, is everywhere, he speaks to the observer addressing him these words: "If only for a moment I could forget about you How you have forgotten me Of my words Of my pain If I had to choose today to bathe Golgotha with blood For you I don't think I would go back I don't believe anymore ».

The sculpture of Medardo Rosso (Turin 1858 - Milan 1928) Il birichino, 1883. It starts from the mixed material, from a sculpture that by technique, frees itself from the all-round, as the fluid forms impose a single point of view on the observer and enhance the instantaneous and material perception of the work. The sculpture fully attests the plastic ability of Medardo Rosso who, fixes the light in the form, without boundary limits as Renoir did in painting. «The children's heads that repeatedly appear in Rosso's not very varied thematic are not portraits - even if at times the initial and contingent pretext was a portrait - but states of mind. His moods, the moments of truth in which this big, tender and extremely sensitive man looked at children as the pure age that lies at the sources of life. [...] », thus the sculptor Mario Negri speaks of the master of Italian sculpture.

The work becomes a weapon to be thrown at the observers, Bentivoglio uses words like objects, words like things, but also words like weapons, tools of criticism. «I have used the word as an image since 1966. And never more than one word at a time. But today I almost exclusively use stone. I am mistakenly considered a sculptor, albeit atypical; in reality my work takes place, today as yesterday, in a totally "poetic" context: between language and image, between language and matter, between language and object, between language and environment. I have expanded the use of the word to the use of the symbol: I choose universal, prelinguistic symbols; matrices of signifiers, or, better still, matrices of multiple meanings, of open meanings. (...) I use the shape of the egg as my constant sign, emblem of life, cosmic symbol of perpetuity and origin ».

In the second hypogeum, where the ancient time of space echoes, there is a suspended time that pervades the works of Saverio Todaro. It is the time of temptation, of creation, of disobedience, of wanting to be mortal at all costs and to have the feeling of "being free". The Eden of Adam and Eve and the contemporary land of toys, Amazon, are immaterial places of transactions, they turn into an excavated space, they expand and dialogue by identity of matter, by color, white, a reference to innocence and blinding light.