Forty years have passed since Giorgio de Chirico left us, yet he remains present through the immensity of his art. It has also been 20 years since the Foundation opened the doors of the Maestro’s home, making it a true House-museum, an authentic location of thought and painting, visited by those sensitive people, national and international, who respond to his art. And there is a reason: the Giorgio de Chirico House-museum is the only place where 60-70 of the artist’s masterpieces can be admired in the place where many of them were created; thus, bringing to life the atmosphere surrounding their conception and realisation, an atmosphere of work that echoes in the silence of the studio on the top floor of the apartment, among easels, brushes, bottles, canvases, objects and his reference library. It could be said that de Chirico still lingers in the house he so loved, sometimes giving rise to a metaphysical sensation in visitors. An editorial is not the place for taking stock forty years after the artist’s death. Certainly, our knowledge of him today is much better and much more profound than when he was alive, and, above all, we know unprecedented and extraordinary aspects of his thought and his art, which further increase our appreciation of him. Forty years of study, research and in-depth analysis have led to knowledge on Giorgio de Chirico’s life and art that is considerably different from the one painted – in recent years – with a brush dipped in toxic and poisonous paints, soaked in surrealist-inspired clichés, shielded and stoked by unscrupulous critics and art dealers who have found in de Chirico an opportunity for their unsavoury dealings, which, unfortunately, did not end with his death. Clarifying the true figure of the artist has been possible, not only through the discovery of important historical documents, but also thanks to the destruction of these clichés, which have damaged his image: meaningless commonplaces spread for commercial reasons or due to simple ignorance.