La casa è esattamente la stessa di quando fu lasciata dall’artista nel 1936. È completamente vuota ed è su questo “vuoto” che si desidera costruire una forte emozione attraverso la quale tutto ciò che si immagina diventa vivo, vero, percepito dai sensi. Non vi sono oggetti od ambienti artificiali.
L’abitazione di Levi è nuda, racchiusa dentro alle mura imbiancate di calce, separata tra cucina e studio di pittura, separata nei suoi immensi spazi esterni dalle piccole finestre dipinte. Negli ultimi anni è stato istituito un intervento estremamente tecnologico, silenzioso ma presente, un invito alle lettura, alla immaginazione ed alla meditazione. I soffitti delle camere dell’autore, al centro, ospitano un impianto di multi visione costituito da proiettori di diapositive programmati e sintonizzati da un computer. Tali proiettori faranno rivivere sui muri bianchi le immagini tratte dai documenti fotografici dell’epoca, la casa, gli orti, i ritratti delle donne, i camini, i calanchi ed in un caleidoscopio di dissolvenze evanescenti saranno intervallate dalle sagome di un cavalletto dall’ombra dei pannelli, dalla traccia di un letto di ferro, di un tavolo da cucina, ombre cinesi che si animano nella velocità della proiezione multi visiva. Il visitatore sarà guidato dalle emozioni della lettura, dalle sensazioni provate e dalla magia che si rileva dalle sue cronache e che traspira dai suoi quadri.

Carlo Levi: “La casa era modesta, costruita in modo economico, e non bella, perché non aveva carattere, non era né signorile né contadina…l’alloggio era quasi vuoto… E soprattutto era una casa, un luogo dove avrei potuto esser solo e lavorare…Mi affrettai dunque a salutare la vedova, e a cominciare la mia nuova vita nella mia residenza definitiva…. Contento della nuova solitudine, stavo sdraiato sulla mia terrazza, e guardavo l’ombra delle nuvole muoversi sulle creste lontane, come una nave sul mare…Uscivo spesso nelle belle giornate, a dipingere: ma lavoravo soprattutto in casa, nello studio o sulla terrazza… Sulla mia terrazza il cielo era immenso, pieno di nubi mutevoli: mi pareva di essere sul tetto del mondo, o sulla tolda di una nave, ancorata su un mare pietrificato…

Marino Moretti was born in Cesenatico on 18th July 1885. In 1901 he left school in order to move to Florence where he wanted to become an actor. Just after a little time he decided to devote his whole life to literature: between 1902 and 1903 he published his first works, short stories and poetries and a few years later he began writing for several newspapers and magazines, such as “Corriere della Sera”. In 1916 he published his first novel Il sole del sabato.
In his Poesie scritte col lapis (1910) the particular character of his poetry, classically defined as “crepuscolare” begins to emerge. The same character is to be found in his prose, stories and novels (among the most famous: I puri di cuore, 1923; L’Andreana, 1938; La vedova Fioravanti, 1941), in which the author describes simple situations of everyday life. His language becomes then fresher and more ironic in autobiographic proses, like Scrivere non è necessario (1937) and I grilli di Pazzo Pazzi (1951).
He received prestigious literary prizes, such as the “Lincei per la Letteratura” prize (1952) and the “Premio Viareggio” (1959).
With Diario senza le date (1966) Moretti reopens a poetical season which will continue intensely for the following years, until his death in Cesenatico on 6th July 1979.
According to his will of 1978 Marino Moretti left all his books and papers to the Public Library of Cesenatico. In 1980 his sister Ines, in respect of his wills, gave to the town of Cesenatico as a present the house along the canal, in order to keep the writer’s library and archives in their original place and to garantee “the study and the education”.
Casa Moretti has been an important study centre on the literature of the twentieth century. Besides its principle aim of preserving and giving prominance to its cultural patrimony, for 15 years the institute has been promoting cultural and research activities. The building houses precious archives and a library of great interest, where people come to study modern and contemporary literature, not only Italian.
Casa Moretti is also a museum where visitors interested in the human and literary character of this poet are welcome.
Since 1993 Casa Moretti has been promoting the prestigious biennal “Marino Moretti” prize for philological, historical and critical works concerning Italian literature of the nineteenth and twentieth centuries.

The Studio Fildadelfo Simi (1843-1923), the painter of the late Macchiaioli period, had had built based on his project in Stazzema - Alta Versilia - in 1890, came to us almost intact, both in its structure and its furniture.

The painter used to spend here long peaceful times, as an alternative to the more intense times of his Florentine life, and here he found the inspiration for many of his masterpieces. He transferred in them the landscapes, the models and the situations of farm life, in line with the Macchiaioli trend of en plein air painting.

Of Filadelfo’s two children, Renzo (1899-1943) and Nera (1890-1987), it was the latter who continued her father’s art both in his painting style and in teaching, in the renowned Florentine Studio in Via dei Tintori and in the Studio in Stazzema. She continued to teach the Jerome method, her father had learnt during his years in Paris.

Nera was a jealous custodian of many of his works, as well as the teacher of whole generations of Artists who stayed and worked at the Stazzema Studio. Nowadays in the Studio, which has become a House Museum, many works by Filadelfo and Nera can be found: paintings, drawings, sketches, experiments which – together with everyday use objects - create a late nineteenth century atmosphere, returning to the visitor emotions and memories of past times.

Giosue Carducci, Nobel Prize for Literature in 1906, was born in Valdicastello of Pietrasanta on July 27th, 1835. His father, after having worked in Valdicastello as a doctor for the French mining company Boissat in Autumn 1838 moved with his family to the practice of Bolgheri. Later on, the Carducci Family moved again to various centers of Tuscany.
Giosue Carducci came back to Versilia three times: on June 16th, 1877; on March 1st, 1890, when he went to see his birthplace in Valdicastello, and on March 29th of the same year.
After his death, on February 16th, 1907, the City Council of Pietrasanta decided to pay solemn tributes to the Poet. Giovanni Pascoli made the official oration.
On March 17th, 1907 the Birthplace of the Poet was declared national monument and in 1912 it was purchased by the City with the money received with a public subscription.
Since 1950, with a decree of the President of the Republic, his Hometown has adopted the name of Valdicastello Carducci and on the same year it has been established the “Giosue Carducci” National Poetry Award.

Michele Tedesco was born in Moliterno on August 24, 1834 by Giacomo and Anna Racioppi, and since she was young, she has revealed her vocation for study and art. A maternal uncle, the abbot prof. Antonio Racioppi, who educated Giacomo Racioppi, summoned him to Naples where he enrolled at the School of Arts and Letters. After completing his studies and painting course, in 1860 he moved to Florence to deepen his studies and His artistic experience and in this city took part in the group of Telemaco Signorini. He visited not only many Italian cities to come into contact with art, but also reached the main cultural centers of all Europe.
During a trip to Bavaria, he met and married the painter Julia Hoffman with whom she lived in Naples. He soon became an educated and ingenious artist and always lived on the income of his work. After 1877, he moved to Portici where, working as a painting master, taught design and was also director of the School of Drawings and Sketches. In 1890 he won the Drawing of Designers at the Institute of Fine Arts in Naples. In a short time he became famous and admired and collaborated in several newspapers of art criticism and exhibition. He died in 1917.

In the Domenico Aiello home there are 18 notebooks, drawings and watercolors that embrace an arch of about 20 years and eloquently testify how vast and articulate his personality was.

There are also real master oils such as “La morte del cardellino “ and “La segreta attesa “.
The Casa Museo Domenico Aiello was born as a tribute of his son Gianfranco to his father figure.
In July 2010, after a careful restoration, this Lucan house was inaugurated as a place of culture.
Saturday, June 18, 2016, six years after its opening, has undergone a new exhibition in its final appearance of the Museum of nineteenth-century Lucan.
It houses in particular precious rarity of the greatest Lucanian painter Michele Tedesco (also native of Moliterno). The oils, the drawings, the 18 artist notebooks of the latter are flanked by the works of the other great artists: Giacomo Di Chirico, Vincenzo Marinelli, Angelo Brando, etc.

Sidney Sonnino was one of the most authoritative exponents of Italian liberalism. An opponent of Giolitti, he was twice Prime Minister (1906 and 1909-1910). He was Foreign Minister (1914-1919) and signed the Treaty of London. An attentive reformer of the agricultural system, he was a staunch supporter of universal suffrage. The Castello di Montespertoli is located only 20 km from Florence, within easy reach of Pisa and Siena. King Umberto I, Vittorio Emanuele III, D'Annunzio and Giolitti were his illustrious guests. The oldest parts of the castle are the thirteenth-century tower and chapel. It is now an home to Baron Alessandro and Baroness Caterina de Renzis Sonnino that, in the over more than 57 hectares of the estate, produce olive oils and wines Chianti Montespertoli D.O.C.G. They set up the Sidney Sonnino Study Centre. The Archive keep some documents about nineteenth-century Italy and the First World War. The rooms in which the politician lived have been preserved intact, as well as his vast library.

The story of Enzo Ferrari, one of the greatest Italians of the twentieth century, began in this house where his memory is treasured now. The adventure of a figure who left an enduring mark on his times started here. Destined for planetary fame, Ferrari never forgot his roots, but he was a revolutionary. He was a child in this home and dreamt of making cars more and more competitive. He came from a peasant culture, but he was fascinated by technology. He understood that cars, from mere desirable objects, may have turned into a luxury object, or even a work of art. Ferrari, with the Prancing Horse as a symbol, soon acquired the outline of the myth. The home-mechanical workshop, run by the foundation “Casa di Enzo Ferrari – Museo”, includes his birthplace and a futuristic automotive design gallery, painted in yellow (the colour of the City of Modena) that Enzo Ferrari chose as the background for the Prancing horse on his famous logo.

The Birth Home Museum is situated in an apartment on the second floor of a historic building in the heart of the City of Lucca where Giacomo Puccini was born on December 22, 1858. In this house the composer spent the happy years of his childhood and teenage years, where he first learned about music and submitted to the discipline crucial to his musical formation. In 1884 he found success in Milan, beginning his international operistic career which made him one of the most famous and beloved composers in history. Giacomo Puccini always remained very attached to this house, so much so that he wanted to retain the property even if he took up residence in other places.

The Birth Home, transformed into a museum back in 1979, re-opened to the public on September 13, 2011. Important renovations reconfigured the original layout of the home and created a completely renewed exhibit. The museum preserves original furniture, precious objects which belonged to the composer, such as the Steinway & Sons piano on which he composed Turandot, autograph scores of youthful compositions (his first work, Preludio a orchestra, re-discovered in 1999, the Mass for four voices dated 1880), many letters from and to Puccini (those from Giulio Ricordi are particularly noteworthy), framed pictures, photographs, sketches, memorabilia and important documents showing the composer’s work, such as page proofs of the librettos of Tosca and The girl of the golden west, rich in autograph notations and musical sketches.
From the donated collections, the costume of Turandot stands out—based on a sketch by Umberto Brunelleschi, worn by Maria Jeritza in the first staging of the opera at the Metropolitan Opera of New York (1926). Thanks to an agreement with Ricordi & C., in a room of the Museum named the Salotto Ricordi, it is possible to admire temporary exhibitions of priceless materials from the Archivio Storico Ricordi.

The Birth Home Museum of Giacomo Puccini is a central element of the Puccini museum, which consists of a journey along the footprints left by the great composer, to rediscover his personality, his genius, and his passion as the creator of extraordinary operas known all over the world.