The large canvas by Galimberti constitutes an interesting node in Delleani's production: always linked to the representation of the landscape, the artist here tackles the religious theme, unusual for him, with a result that, ultimately, will not satisfy either the author or criticism, which will accuse him of having denied realism. Exhibited at the Venice Biennale in 1903, the painting was received with little enthusiasm. Embittered by the harsh judgments, the painter admitted the work to his studio in Turin; here, the large canvas remained dusty for a couple of years, until 1905, when it entered Alice Galimberti's atelier in Piazza Vittorio.

The canvas is certainly one of the most important pieces of the collection, a significant example of the pointillist season and of one of its most illustrious protagonists: Gaetano Previati. The theme of the relationship between mother and child was particularly dear to nineteenth-century painting and to Previati in particular, who often translated it through the bond between Mary and Jesus. an older male figure in the background could make the subject re-read as a Holy Family.

The work was created during the sculptor's American stay and exhibited for the first time at the Art Club of Philadelphia in 1915. It depicts Lady Constance Stewart-Ricardson, naked in a slender dance step, elegantly accompanied by a theatrical gesture of the left arm . The statuette, replicated in several versions, some of which are present in American museums (Detroit Institute of Arts, Metropolitan Museum of New York), depicts the protagonist dressed in a light and adherent Grecian tunic, and, much more rarely, completely naked. .

The author captures the serious conversation of the three children with delicacy and sensitivity, differentiating their expressions also thanks to the different posture. The small group fully reflects one of Prini's characteristics, evident above all in the early days of his transfer to Rome: the particular "ability to express feelings, emotions and psychological types" (Panzetta), already recognized by his contemporaries, in a subject, that

of childhood images, not easy, although much practiced by sculptors and painters between the nineteenth and twentieth centuries. Young sculptor with "the soul of a good child", as Antonio Maraini wrote.

The plasticity of the material used enhances an incisive, strong modeling and the surface values, evident in the variation of the textures according to the imitated material, from the roughness of the thick fabric of the jacket to the silkiness of the handkerchief to the skin, according to a realist approach pushed to mimicry descriptive, characteristic of the teaching of Odoardo Tabacchi, of which Sartorio was a very skilled pupil. The power of this vigorous portrait is also given by the proud and decisive expression of the face, in which the advanced age highlights the severe and warning features of the character. The presence of the bust in Casa Galiberti is an expression of an authentic veneration that Tancredi and his children had for the Risorgimento hero, witnessed, among other things, by the writings of his father, by the commitment of the "Sentinel of the Alps" in promoting his celebrations. and from the numerous documents on the Garibaldi epic present in the library and in the archive of the house.