This book represents a dream come true, one of the most beautiful flowers on which the butterfly of desire has been able to rest. It was born from a synergy triggered by Marco Fiori - president of the Associazione Liberi Incisori, promoter of initiatives for artistic graphic, curious and expert collector - and involved nine artists who, with enthusiasm and dedication, provided their matrices, Marzio Dall ' Acqua - always ready with his words to support the practices of graphic art - and Antonio Bagnoli, once again kindly available to provide unpublished texts by that multifaceted man of culture that was Roberto Roversi, carefully chosen texts, inherent to a theme and in the very singular form of the gliòmmeri. These nine artists interpreted the proposed verses with printed works made in their favorite graphic methodologies: in relief - they are the woodcuts and linocuts by Gianni Verna, Raffaello Margheri, Laura Stor -, in cavo - the etchings by Ezio Camorani, Maurizio Boiani , Nella Piantà, - flat - the lithographs by Stefano Grasselli and Isabella Branella. It was an honor, a pleasure and, why not, a challenge to print their matrices trying to do it in the best possible way. Not all the techniques of each language are present, but there was no presumption (nor the concrete possibility) of including them all (we also think only of the absence of aquatint or ceramolle and of all the various experimental techniques of the three languages ). Despite this, a first value of this limited edition edition is that of being a sort of specimen of the main artistic graphic languages, presented in a historically chronological order. The other great value is given by having made the images spring from poems never read before, the best ones, which in simple words synthetically paint profound reflections. We tried to give them the best graphics too, with the Garamond Deberny & Peignot for the text, the Augustea for the page numbers, the Egyptian for the numbers of the gliòmmeri and the Carla, a very unique and mysterious character perhaps of the years. '40, for the title page. All, like the images, printed with hand presses on fine paper, not so much to make a book in the ancient way, but to be able to create it in full creative freedom, with the presumption of having created an object-book that we believe has recovered all the aura of a work of art, considered lost by some thinkers at the advent of the era of facilitated graphic reproduction.