Early in his career he came to the Pre-Raphaelites but with the “Woman at the fountain” exhibited in Venice in 1899, and then with “Lady,” and “Concert”, “Spring”, and even more with: “Horses of the Sun” and “scream of Achilles “, he parted from them. He felt his affinity for the art of D’Annunzio, and began with the perk of wood engravings great edition of “Francesca da Rimini” (1903). There followed “The daughter of Jorio” (1904), the ‘Praises’, the’ Poemetti Latin »by Pascoli (1914), and finally the” Night “still D’Annunzio (1917), in which the artist reached the high of expertise. He was able to adapt the illustration to the book, in humility, serving really well to its interpretation, and never asked to what the woodcut woodcut could not give him. By now, he had resurrected the art of woodcarving and had given a completely new tone to the industry of book decoration, both lapsed after the centuries of glory. And then from the engravings for books and books for collectors and decorations for the houses of the aesthetes, passed the fresco, and this new activity gave extensive tests: the decoration of the Sala dei Cinquecento in the Palazzo del Podesta of Bologna in Town Hall Ascoli Piceno, in the auditorium of the University of Pisa in the dining mayoralty of Arezzo. In them, the artist painted the rural labors, the serenity of fields, ancient glories military, scientific, commercial. Digs for harmony of proportions, for design perfection, for skillful play of masses and mastery of movements these works, which does not conceal the inspiration of Michelangelo, perhaps lacking in color. A posthumous exhibition, organized in 1929 at the Exhibition Palace in Rome, the faithful disciples, he demonstrated to the public, who did not always appreciate the depth of his art, the torment and the hard work of the artist.