Acknowledgements
First and foremost, my grateful thanks to family and friends, my first critics, for invaluable suggestions. A special thank you to my nephew Davide: without him I would never have considered picking up the pen again.
I’m indebted to Roberto Bestetti for detailed information on painting techniques and materials during the Renaissance, to Achille De Gregorio, president of ARTEA Art Theraphy Association, for his teaching on how to decode the images and to professor Flavio Caroli for introducing me long ago, during my university years, to Sofonisba Anguissola.
I am grateful to Della Passarelli for her constant support, to Alessandra Piacentini for her useful suggestions and to Giuliano Vezzoli for sowing the seeds of the idea of uniting my passion for art with my love of wr
