for fifteen thousand dollars. A second original from 1951 is currently on display at the Victoria and Albert Museum in London. The "Architettura" trumeau aims to represent the interaction of modern and ancient, rationalism and the Renaissance, architecture and furniture, structure and decoration, and over time has become one of the icons of Fornasetti's work during the interwar years and the economic boom. Contrasting unused rooms and traditional houses with the reduced living spaces of the modern age, the two furnished and decorated the Sanremo Casino (1950), an entire apartment that became famous as a symbol of their style, the private home Casa Lucano (1951), and the first-class cabins and lounges of ocean liners such as the Andrea Doria (1952). In 1952 Piero began working on what would later become his most famous and iconic series: "Tema e Variazioni". Starting from a portrait of a woman seen in a magazine from the late nineteenth century, he began a representational study that would accompany him throughout his life. The subject was the face of Lina Cavalieri, an opera singer who lived at the turn of the 19th and 20th centuries and who was celebrated as the most beautiful woman in the world. At that time, Lina Cavalieri represented an archetype of enigmatic, classical beauty that Fornasetti reinterpreted by means of over 400 "variations". Alluring, mysterious, amazed, seductive, with a mustache, glasses, crown or balaclava: over time the face of Lina Cavalieri became the emblem of Fornasetti and his art. Thus was born the “Tema e Variazioni” series, which continues today to be reproduced today by his son Barnaba Fornasetti on a series of everyday objects, not only porcelain, but also furniture and accessories, in new variations. The series has won over a large audience of writers and intellectuals: Alberto Moravia dedicated a text to the infinite variations of Lina Cavalieri's face, while in 1971 Henry Miller chose one of the decorations of the series on the cover of his autobiography "My Life and Times". In 2016, the first 100 illustrations from the series were collected in a prestigious, completely handmade, limited edition volume. During the same year, the series made its entrance to the world of theatre, becoming part of the set of "Don Giovanni", the Mozart opera presented and produced by Fornasetti. Over the same period, in parallel with the development of his personal iconography applied to everyday objects, Fornasetti's