The museum itinerary thus starts from the ticket office. So as not to alter the equilibria of the ancient building, in the spaces where it was necessary to form separate environments such as the cafeteria and the ticket office, any new elements were made clear, inserting free-standing dividers into the space: walls plastered with lime in the shades of the pre-existing walls, which allow functions to be carried out through the gaps in them created by the detraction of material. The itinerary continues in the two rooms of the Podestà, entirely given over to the display of works. In order to increase the available display surface in the rooms with previously decorated walls, supports were designed in keeping with a logic of alternating full and empty spaces, in relation to the windows. The bases, like the floors, were produced using San Marino stone: a local material already to be found in numerous original details. Although the stone is no longer extracted, a number of quarry blocks were found. The stone was laid in such a way as to underline architectonic relationships and the perspectival axes. On the upper floor, in the Sala dell’Arengo, the display revolves around the dividing wall which hosts the major fresco of the Last Judgement by Giovanni da Rimini. The positioning of the dividing wall, placed diagonally and at the centre of the space, allows for a management of the itinerary which valorises the perception of the room and the works. On entering, one has an initial impact with the space in its entirety: a great void, in which the dividing wall is perceived end-on as a blade that leads the visitor towards the natural light of the mullioned windows. Step after step, one’s gaze encounters the works on show, and little by little, the full size of the detached fresco is revealed. This museographical expedient drives the itinerary and splits the room into two sections: one on the side of the mullioned windows, very bright and thus functional for the display of sculptures; the other, on the north side, more closed and suited to photographic works and canvases, which generally call for softer lighting. The display supports, with flared corners and metal edges that pick up on the bronze of the window fittings, are light, almost bidimensional, and while suitably distanced from one another, mark out the exhibition path. Suspended architecture, generated by the rhythm of full and empty spaces, in relation to the container. Other than the exhibitive aspect, the floor in this room was replaced entirely with oak parquet: the same material used for the dividing wall hosting the large central display. The wood, reminiscent of the decking on the first floor of historical palazzos, dialogues with the sequence of wooden Palladian trusses, thus tying together the whole architectural volume. The replacement of the window frames, which proved particularly complex, was resolved by using a high-performance minimal profile with a bronze effect, redesigning the geometries of the mullioned windows. Needs for piping and wiring have been transformed into display and furnishing elements, designing a system of seats and perimetric display cases housing the mechanical systems, thereby integrating them into the space, without interrupting the perceptive equilibrium of the room. In an adjacent room, a simple and temporary display was designed, in order to exhbit the entire collection. The room will later be subjected to a second renovation process with the aim of removing the partitions, the half-landing and the lift shaft, which will be moved to the outside of the building. The volume will thus be opened up, casting light on the great wooden trusses. The furnishings of the museum, in oak, play on material and perspectival detraction, which are themes that come back in the details of the display units: flares, detractions and perspectives that generate a perceptibly continuous movement.