Picasso. La scultura.

Cinisello Balsamo, Cassa di Risparmio di Parma 1965, cm.28,5x37, pp.46, 53 tavv.bn.e col.ft. 49 figg.bn.nt. legatura ed.soprac.fig.a col.

Contibuto storico artistico di Aldo Cicinelli. Ediart 1986, cm.16x24, pp.120, brossura con cop.fig.a col. Collana L'Umbria nella Storia, Nella Letteratura e nell'Arte,1.

Udine, Paolo Gambierasi Libreria Reale 1895, cm.16,5x24,5, pp.130, brossura.

Prato, Aurora Boreale 2023, cm.15x21,5, pp.60, illustrazioni. brossura con copertina figurata a colori. Supreme among the wonders of antiquity, unrivaled by the achievements of later architects and builders, the Great Pyramid of Gizeh bears mute witness to an unknown civilization which, having completed its predestined span, passed into oblivion. Eloquent in its silence, inspiring in its majesty, divine in its simplicity, the Great Pyramid is indeed a sermon in stone. Its magnitude overwhelms the puny sensibilities of man. Among the shifting sands of time it stands as a fitting emblem of eternity itself. Who were the illumined mathematicians who planned its parts and dimensions, the master craftsmen who supervised its construction, the skilled artisans who trued its blocks of stone? The essay by Manly Palmer Hall that our publishing house is now proposing to modern readers,The Initiation of the Pyramid, was one of the most interesting chapters of his monumental workThe Secret Teachings of All Ages, published in San Francisco in 1928.