The ontology of Nicola Bertellotti's work looks like an anthropology composed of icons, in its purest etymological essence: his shots describe Man. Man as it was, the one who designed, built and decorated the spaces photographed: people who lived here and who marked these spaces, and who now is just dust and is very much present in what are now his mausoleums. Their sacred void echoes in a solemn requiem giving dignity to passing time: these are re¬mains of what time has tried or devoured, transforming everything in voluptuous pearls of memory, suspended between a resistent past and a difficult future. It's a delicate balance where Bertellotti finds his place, as a novel archangel, penetrating these times hortus conclusus, and he announces new points of view. His perspective is not just a photographic one, but also a literary perspective. The criteria of his work come from myths and cinema, and each piece has a title or quotation, a poetic name given by a surreal museum keeper.