L. Cavallo, Ottone Rosai, Edizioni Galleria Il Castello, Milan, 1973, reproduced no. 144. The pictorial conduction of the composition is fully visible: it seems like we are witnessing Rosai"s work as he constructs the scene quickly and almost with a touch of ironic violence. The walls of the houses in the background are animated by the same anxiety that makes the brushstroke on the bodies corrugate, and they pulsate together with the storytellers, kept vibrant by the explicit sound accompaniment. Florence, the Oltrarno, for the artist is this reflection of chromatic values and harmonic values: the musicians are the soul of the small streets and give voice to the district even when it seems in a silent and painful dimension. How many times has Rosai returned to this motif, and thus repeats, confirms his basic idea that Man is the city and the city is Man, with his voices, his absences, his rites. C.