In Santa Giulia, in the Viridarium – Sculpture Park, which in addition to numerous finds and funerary monuments from the Roman era already hosts the Third Paradise by Michelangelo Pistoletto and Untitled by Ariel Schlesinger, on the green ridge that extends towards the north is the large World of steel, steel globe that emerges from the lawn, which thanks to the powerful diameter of 4 meters compares in proportionate balance with the large and monumental space in which it is located. Almost like a ball which instead of rolling is pinned to the ground by the earth's axis, on the meridians and parallels made of solid steel the work presents the opaque surfaces of the emerged lands, the plates of the continents, on which the master, using the usual lexicon of erasure, covers the names of individual cities. All except one, that of Brescia, which leaves in evidence with the Latin name, Brixia, as if only this city of all can be known and can survive the oblivion of erasure. The artist, faced with the grandeur of the archaeological remains of ancient Brixia, which he has frequented since at least 1957 and which he has seen progressively excavated, restored, valorised and narrated over time, in fact questions himself about the determining force of the origins in the developments of history and claims its fundamental role. With his work the master intends to give the city a possibility of autonomous and recognizable history, fully deserved by what remains of it and by how Brescia has been able to protect the past in constant dialogue and comparison with its contemporaneity.

The Roman roots that characterize Brixia are very deep and still evident today, and the artist pays homage to it by praising its strong value as a cultural and civil community among all, in a historical archaeological space that is now a UNESCO heritage site.