On the second floor of the Gallery we find a masterpiece of symbolism welcoming us, The Sin by Franz Von Stuck, in which a modern Eva, uninhibited and self-confident, shows herself to the viewer with a bare chest, winking and wrapped in a python. A woman who challenges common morality and whose image is enclosed by a frame that refers to the sacred of a votive aedicule. All the conflicting feelings of society and patriarchy emerge towards those over the top, very current and independent women, often also frequenters of the best European salons.
Emiliana Concha de Ossa de la Femme aux gants by Giovanni Boldini, or the Portrait of Mrs. A.C. by Lino Salvatico: comely women of high society, used to attending parties and salons of the Parisian Belle Époque. These figures, heirs of the dual vision of the nineteenth century, are a pretext for experimenting with pictorial languages of the highest quality, but at the same time they seem to give us back only some aspects of the feminine.