The exhibition is divided into two distinct locations: the most conspicuous part is housed in the eight rooms of the Casino dei Principi while a section dedicated to scenography and a “gallery” of sculptures “conclude the exhibition at the Casino Nobile. In addition, as an ideal addition to the visit, the permanent collection of liberty and déco stained glass windows housed in the splendid Casina delle Civette. In the Casino dei Principi a sequence of thematic rooms typeset a tight story consisting of about 230 works, within which six decades of intense work are included. After the start that sees him as a skilled engraver and chiseller in the troubled world of turn-of-the-century decorating artists, Cambellotti grapples with the theme of modernity, of which the contemporary city is the stage, designing for national and foreign artistic industries and designing for exhibitions, banks and theaters splendid advertising posters (Project for pole – support, ca.1896; Manifesto for the Turin National Exhibition of 1898, 1897), nevertheless not failing to question the social changes that progress had introduced in the lives of men (The false civilization, 1905). The brilliant bourgeois society of the capital – then emerging – which is reflected in the sinuous and enveloping forms of Liberty, is placed at the antipodes of that ancestral world that in the first decade the artist was discovering in the Roman Campagna, already poetically portrayed by the artists heirs of Nino It costs, but malaria and misery seemed to have closed in a timeless seal of eternity (Campagna arata, 1912).
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