A profound dialogue is established in the rooms of the noble floor of ACP - Palazzo Franchetti. Massimo Campigli's deliberately archaic compositions, well represented in the exhibition with paintings ranging from 1928 to 1966, find the origins of their deepest inspiration in the Etruscan finds on display with which a natural sharing of atmospheres, signs and colors is established. Starting from the famous visit to the Etruscan Museum of Villa Giulia in Rome in 1928, we are witnessing a sort of return to a primordial purity in the art of Campigli, to an ancient flavor made of soft colors, like the fresco paintings so similar to how time has given us back the Etruscan images, of forms shaped according to the design of votive statues or amphorae, of female figures with hourglass busts that abstract themselves into timeless images. The richness of the exhibits on display - from vases to figurines, from jewels to sarcophagi, etc. - it allows to trace an alphabet and a universe of links which, starting from general evocations, are declined in specific references in the different sections of the exhibition: the first dedicated to the human figure; the second to animals, composed of birds, horses, wild animals and finally the third with shapes and geometries. Many of the finds are absolutely unpublished and come from important operations of recovery of archaeological material, also arrived from international museums, and now in the availability of the Archaeological Superintendence of Fine Arts and Landscape for the Metropolitan Area of Rome, the Province of Viterbo and Etruria. Southern. The two precious terracotta sarcophagi of the Civic Museum of Viterbo deserve a mention. Through the call of these expressive formulas belonging to a glorious past civilization, the art of Campigli reveals a profound originality precisely in the coexistence between ancient splendors and current events, immersing the visitor in a dimension where time seems to stop or flow quietly in an imperturbable stillness. . It shows us a twentieth century contemporary to the most ancient ages of the Mediterranean, thus writing a very interesting page of what the archaeologist Massimo Pallottino defined as an "Etruscan novel", a myth that from the Renaissance onwards continues to exercise a strong fascination from generation to generation. .