Italian Dining Room Tables

Massimo Morozzi for Cassina, “Tangram” modular table, painted beech, Italy, 1983. The “Tangram” table awakes more than just one association. The design is modular, versatile, play...

President M dining or center table with sandblasted seafoam green glass top on a gray enameled steel base by Philippe Starck for Baleri Italia.

This Italian dining table from the 1970s exudes timeless elegance and beauty. It was designed by perhaps one of the prominent Italian modernist designers of the last century. What im...

Midcentury ash wood dining table by Mario Bellini for Cassina. The table has a striking tripod base made from solid ash wood and a smoked glass table top. Design Classic and pr...

Early and Large version Carlo Scarpa Quatour table for the Metamobile series by Simon Gavina, Italy 1974.

Spectacular dining or center table in finely carved ivory lacquered gilded wood of Italian design with oval crystal top. Attributed to Pier Luigi Colli.

The 1970s Italian travertine dining table is a must for the interior of every midcentury design enthusiast. A lovely composition of this very distinct stone shows up close that it di...

This is a 1970s Regency style faux marble painted dining table. The faux marbleized finish is original as is the ivory base. The table has five leaves, and each leaf adds eleven inch...

Italian Travertine dining table, stone International 1970.

A simple modern travertine marble dining table circa 1980s. It features solid slab marble construction. Clean ready to use condition.

Table with etched grindstone base and marble top by Giulio Lazzotti for Mageia. Made in Italy circa 1981. The name of the town where Giulio Lazzotti lives and works, Pietrasanta, can be alternately translated as Saint Peter or “holy stone,” the latter being wholly appropriate for a designer and architect whose work in marble, metal and wood takes on a serene, sculptural presence. Lazzotti was educated at the prestigious University of Florence, where he later returned to teach architecture. Since 1975, Lazzotti has maintained a diverse practice encompassing architecture, interior design and furniture design, winning such awards as first prize for Design at the Moving Fair of Paris, the Torre Guinigi prize in Lucca for Urban Design for the historical center of Pietrasanta, a top ten in the International Chair Fair at Udine and, most recently, the Good Design prize from the Japan Industrial Design Promotion Organization. Following in the tradition of classic Italian sculptors and craftsman, Lazzotti’s furniture is produced with an artisan’s eye for material nuance and imbued with modernist simplicity. Internationally recognized for his work with stone, Lazzotti has organized symposia on the material and taught courses like “Design in Marble” at the Academy of Fine Arts in Carrara, Italy (home to the famous white carrara marble quarries). Lazzotti has worked with many international companies, including Iveco, The Conran Shop...

Angelo Mangiarotti for Skipper "Eros" dining table in beautiful grey marble, Italy, 1970s Marble rests on 2 cone pedestals Great example of...

Outrageous opportunity to own a rare Mario Botta dining or conference table, made in 1986, in mint condition. This Dining table or desk, titled the model "Tesi" from 1986, was designed by Mario Botta and produced by Alias. The perforated sheet steel structure is lacquered in black with a rectangular glass top. This iconic table demonstrates the influence of Le Corbusier, Louis Kahn and Carlo Scarpa on Botta’s work. During the 1980s, famous Swiss architect, Mario Botta worked with the manufacturer Alias as a designer on a whole range of furniture. Botta’s ingenious designs are often composed of simple geometric shapes, while also creating unique complex spaces. See images 3, 8 and 9 in this posting to see some of his stunning architectural works. This listing is a rare opportunity to acquire one of the last examples of the original production of this collectible and iconic design. Condition: The table for sale here is in great original condition with less-than-usual usage marks for its age. It has been very well taken care of for its entire life. Artist: Mario Botta (Swiss, born 1943) Title: TESI TABLE...

Rare model XLight table designed by Alberto Meda in the 1980s and produced by Alias. Alberto Meda is an Italian industrial designer known for his innovative use of materials and tech...

Travertine double pedestal and glass dining table, Italy 1970. Excellent condition

A extraordinarily stately extendable dining table in cherry and wenge woods designed by Spanish designer Oscar Tosquets Blanca in 1991 for Driade Aleph. His aim was to design a table...

Angelo Mangiarotti for Skipper "Eros" dining table in Marquina marble, Italy, 1970s Beautiful black Marquina marble rests on 2 cone pedes...

A gorgeous Italian Empire or Neoclassical style round pedestal dining breakfast table, game table, or center table. By Baker Furniture, "Milling Road" Collection. Italy, circa ...

Produced by Mobilgirgi Italia in 1975 Chairs: Set of six robust Italian dining chairs with saddle-stitched leather seats, black colored. Very comfortable even for larger sitters despite the slim profile. Dimensions: 50 x 47 x 82cm, assise 45 cm. Dining table in walnut, dimensions 209 x 89 x 76 cm. Sideboard: manufactured by Mobilgirgi in Italy in the 1970s. Very rare walnut sideboard. Dimensions: 250 x 50 x 79.5 cm. Showcase furniture...

Stunning vintage marble round dining table by B&B Italia. An incredibly rare dining table by B&B Italia. Features a round marble top and steel base. Beautifully designed and in fa...

Italy, 1990s Italian made dining table with fluted legs and carved details. The finish is a lighter, whitewashed one. The top has caning belo...

Italian mid-century Rectangular dining table in glass, mirror and marble, 1980s Dining table with rectangular glass top with rounded corners. The thick aquamarine green glass top fe...

Stunning! Large vintage Cipollino Ondulato marble dining table, designed and manufactured in Italy. This table has a strong formal design wit...

A solution for upper middle-class furnishing, with effect and impact. Visible quality and elegance of design. The set for three persons consists of: a table H 48 cm x diameter 119 cm...

Extremely rare and beautiful, "Luar" dining table designed by Ross Littell for ICF, De Padova, Italy in 1972. This is a truly wonderful example of...

Absolute rarity! Design Afra & Tobia Scarpa, table in red marble, produced by B & B Italia 1974. Table top in "Marble di Alpi Apuane" red, only 300 co...

Round travertine dining table made in Italy, 1970s. Solid travertine top and base. The top has a rounded edge and the base is made of three slabs of travertine. The table has a satin...

The table, designed by the famous Italian architect Mario Bellini for the Cassina company, was conceived in the 1970s and draws its inspiration from the architecture of Roman antiquities. This specimen has a round top in thick black marble and three large solid marble feet...

Rare large dining table by Gio Pomodoro created in a number of copies, this table is number 4. The top is in wood with the centre and legs in marble. Signed Gio Pomodoro. Wear due to...

This dining table boasts a beautiful Italian Fior di Pesco marble top with hues of grays and rusts. The base is curved with a slatted detail. The ...

Italian dining table, designed by Luciano Frigerio for the Frigerio - Desio company. It is part of the Norman series, made of dark Italian walnut, reminiscent of the keys of a piano...

A simple modern Italian travertine dining table ideal for smaller spaces. It features a polished stainless steel base with a travertine slab top. In ve...

Flower-shaped top travertine dining table, Italy 1970s Beautiful flower-shaped top travertine dining table or centre table made in Italy in the 1970s. The thick heavy top sits on...

Table rectangulaire de Guido Faleschini pour Mariani, Italie, 1970. Le mobilier de cette gamme désigné par Guido Faleschini était distribué par Her...

Elegant Hollywood Regency style brass faux bamboo dining table. Smoked glass top. CREATOR: Unknown PLACE OF ORIGIN: Italy DATE OF MANUFACTURE: c. 1970's PERIOD: 1970...

An elegant and raredining table designed by Giampiero Vitelli in the 1970s.Teak frame .Extensible:130cm-180 cm.Excellent condition. Free professional packing is provided.

Angelo Mangiarotti for Skipper 'Eros' round dining table in Marquina Marble, Italy 1970s. Angelo Mangiarotti created it for Skipper from the 'Eros' series, an iconic round dining ...

Made in Italy, this 20th century glass, marble and brass accented dining table by noted Italian furniture maker, Artedi, makes a statement in ...

Beautiful dining table in chromed stainless steel with smoked glass top, it was designed in Italy during 1970s. The base of this enchanting dining table features three chromed leg...

CALICE dining table by Massimo & Lella Vignelli for Poltrona frau, Italy 1980s Introducing the stunning Glass Dining Table "CALICE" by Massimo & Lella Vignelli for Poltrona Frau, Italy. Crafted with precision and elegance, this dining table is a statement piece that will elevate any dining space. The "CALICE" dining table is a masterclass in modern design. Its sleek glass top is supported by a base made of slim yet sturdy leg, creating a minimalist silhouette that exudes sophistication. The table's transparency allows it to seamlessly blend into any interior, while its unique shape adds a touch of character and charm. Poltrona Frau, the renowned Italian furniture brand, has a legacy of crafting high-quality, timeless designs that stand the test of time. The "CALICE" dining table is no exception. It is made with the finest materials and the utmost attention to detail, ensuring its durability and longevity. The table's glass top is made with tempered glass, which is known for its strength and resistance to breakage. Its base is made of metal. Whether you're hosting a dinner party or enjoying a meal with your family, the Glass Dining Table "CALICE" by Massimo & Lella Vignelli for Poltrona Frau, Italy is the perfect centerpiece for your dining room. With its clean lines, impeccable craftsmanship, and timeless appeal, this table is sure to impress for years to come. FASEM P40...

grande tavolo riunioni o pranzo. base in ferro verniciato, top in cristallo di forte spessore. la base e' stata realizzate su disegno dell'arch. Stefano Ferrari. anni 90.- Sant'ilari...

This table can work as a console table or also as an elegant dining room table or desk. It’s a practical and elegant piece. What makes it so ...

Round table, from Italy, attributed to the iconic designer Romeo Rega. This table boasts a glass top with with bevel and a base featuring four arched components of brass and chromed steel.

- 31" H, 66" L, 39" D - Blue, green, purple veined granite stone pedestal base dining table circa 1970s - Condition: Excellent.

Stylish Filicudi dining table with wooden base and silkscreened melamine top designed by Ettore Sottsass for Zanotta Italy in 1992.

Side table - Carlo Ratti inspiration Italian designer from the 1960s. The play of materials and colors: wood, brass, metal as well as pure lines give a lot of elegance and finesse ...

Stunning dining table in Emperado Marble made in Italy. I’ve never seen a slab like this! It was previously lacquered which we had professionally...

Designed by Sottsass Associati and produced by Bieffeplast circa 1980’s. The ‘Crossing’ table features a robust black powder coated tubular steel frame, chrome trimmings and toughene...

Silvio Coppola design walnut dining table for Bernini, Italy. Post modern table with interesting architectural bases on rounded splayed legs. Made with book matched walnut veneer on ...

Italian space age white cream plastic and wood round dining table, 1970s Space Age dining table, with round wooden top and tulip-shaped leg in cream-whi...

Mid-Century Modern Sculptural Travertine dining table, Italy, 1970s.

Extraordinary dining table by Gastone Rinaldi with a top glass fume'. Gastone Rinaldi (1920-2016) is an Italian designer. In 1916, his father, Mario Rinaldi, founded RIMA, a company that produced metal furniture. In 1948, Gastone Rinaldi and his brother replaced their father within the company. He met Gio Ponti in 1950 and, with his help, designed the chairs (DU10 and DU11) for the hospital section of the IXth Triennale in Milan. On this occasion he also presents the chair with the DU9 rocking back. During this period, the Domus magazine regularly publishes its achievements. He participated in the XXX Fiera Campionaria, in 1952, in the section “Art and Industrial Aesthetics” whose curators were among others Alberto Rosselli, Ettore Sottsass and Marco Zanuso. In 1954, he received the Compasso d’Oro for the DU30 chair. He participated with Ponti, Parisi, De Carli and Gardella, in the American adventure of Altamira, one of the first foreign companies to call on Italian designers. He designs, with Carlo Mollino, the chairs for the Molinette hospital in Turin. In 1957, the DU41...

Elegant and original table in octagonal parchment leather, linear, distinct and well finished, the table from the end of the last century has a very strong character but at the same time its design makes it very light. The table has an octagonal top, it has also been completely covered in goatskin; Well polished and finished, the top shines with the veins of the leather, with a very warm and welcoming color for the eye, it is perfect as a center table but does not disdain as a dining table. Its leg, central as can be seen, is also octagonal in shape and entirely covered in goatskin; only in the final part does it have a border along the entire perimeter lacquered in black. The top is dismountable, so two small individual boxes can be made for transport. Wear consistent with age and use. Every item the warehouse...

An outstanding large Italian Provincial or Neoclassical style pedestal extension dining table By Baker Furniture, "Milling Road" Collectio...

Dining table mod. ‘Samo’ by Studio Simon. Series ‘Ultrarazionale’. Italy, 1970. Made of granite. Literature: Giuliana Gramigna, Repertorio 1950-2000, Allemandi, Torino, 2003, p.180. Excellent vintage condition. The Samo table was designed in 1970 by the project office of Studio Simon. Carlo Scarpa was the brand's artistic director, and the Venetian architect's style inspired the shapes of this table. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how 20th century museums were to be set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this 20th century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem”, [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure”. Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded 8 years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana”, “Quatour” and “Orseolo”. While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

1970s Angelo Mangiarotti white Carrara marble dining table for Skipper, Italy. Design: Angelo Mangiarotti Manufacturer: Skipper, Italy 1970s Sculptural and monumental dining t...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...