The 1920s also witnessed the affirmation of the “Novecento” style which started in the paintings of Margherita Sarfatti’s artistic movement and later also became established in architecture and the decorative arts. The different variants of this style found a common denominator in a return to the classical ideal. But in all its various interpretations and in its reflection of a worldwide desire for a return to order, this ideal nevertheless kept alive the heritage of the historical avant garde movements, while absorbing the stimuli of the most innovative artistic developments of its time. The formal equilibrium achieved is evidenced here in the chairs designed by the architect Marcello Piacentini as a wedding gift to Fiammetta Sarfatti, in the portrait of the art critic Matteo Marangoni, painted in 1919 by Baccio Maria Bacci, in La Cena dei Rimasti (1924) by Carlo Potente, in Bianca (1924) by Francesco Messina, and in Il Bacio (1926) by Alimando Ciampi.