The itinerary begins from the atrium of the Liviano, where visitors are welcomed by Giuditta Scalini, sculptor and wife of painter Massimo Campigli, who creatively and actively helped her husband in the execution of the work that took place, despite the difficulties, in only five months, in the autumn-winter of 1939.

The woman, in construction clothes and with blueprints in hand as she is portrayed in the fresco, with Gio Ponti, the architect who designed down to the smallest details the building wanted as the seat of some of the institutes of the Faculty of Letters of theUniversity of Padua by Rector Carlo Anti (both are depicted in the fresco). The dialogue dwells on the inspirational elements of the work, the reasons for Campigli's thematic and stylistic choice, and the difficulties of the execution, conducted in only five months.

When Ponti exits the scene, Titus Livy appears, depicted in Campigli's fresco while addressing a large group of students and in Arturo Martini's sculpture. The classical author pauses to illustrate the various scenes in the fresco and on the sculpture that shows him in an unusual, crouched position. He then heads to the headquarters of the Museum of Archaeological Sciences and Art, where Minerva, a depiction of Wisdom, portrayed in one of the statues in the collection, awaits him.

The dialogue highlights the characters of the collection, the result of Antonio Vallisneri Jr.'s donation to the university of part of the collection of Marco Mantova Benavides, a sixteenth-century university professor of law and author of an Epitoma virorum illustrium, who appears to illustrate the spirit in which he collected the artifacts presented here. In particular, we emphasize: Marco's appreciation for the sketches, preparatory or study material, and casts from the ancient but also the modern masters that constituted tools of work and study in the workshop of the artists of the time such as Domenico Campagnola and Stefano dall'Arzere; the importance of the collection of busts and heads of illustrious men cultivated by the Paduan humanists of the mid-sixteenth century that is at the ideational origin of the cycle of illustrious men in the Hall of the Giants; the sodality of intellectuals and artists that Benavides gathered around him as a patron who uses the collection as a guide to the formation of taste; the interest of the Mantua Benavides in ancient local testimonies, documents of the high antiquity of his own land.

In connection with the above, Marco Mantova Benavides leads the group to the Hall of the Giants dova find Fina de' Buzzacarini, wife of Francesco il Vecchio da Carrara, the man who commissioned his friend Francesco Petrarch, author of De Viris Illustribus, to paint the subject of the first pictorial decoration of the Hall of the Giants, or of the Heroes, hall of the ancient Carrarese palace, which after the fall of the Paduan seigniory gradually degraded until it was replaced by new frescoes commissioned by Girolamo Corner, captain of Padua, between 1539 and 1541 to the Paduan painters Domenico Campagnola, Stefano Dall'Arzere and Gualtiero Padovano.