La vicenda architettonica, letta attraverso le immagini dei secoli XVI e XVII, della stretta manica che fin dall'ultimo scorcio del '400 collegava il Castello degli Acaia con l'antico Palazzo del Vescovo scelto da Emanuele Filiberto quale prima sede ducale nel 1563 dopo lo spostamento della capitale da Chambéry a Torino e che il figlio, Carlo Emanuele I, trasforma in spettacolare "galleria delle meraviglie" allestendovi le raccolte ducali: una grande impresa celebrativa per una dinastia in fase di affermazione.

A drawing attributed to the Dutch painter, draughtsman and print designer Maarten van Heemskerck (1498-1574) was acquired in 1973 by Melvin Day, director of the then National Art Gallery of New Zealand. The sheet presents several studies after antique sculpture, supposedly dating from 1532-36/37, when the artist was in Rome. This article focuses on a figure represented at the top of the recto of the sheet, a reclining male nude that is illustrated twice, seen from slightly different angles. In the late fifteenth and early sixteenth centuries, the object was located in the courtyard of Casa Maffei in Rome. The sculpture-often referred to as Endymion-later travelled to Venice, Verona and Munich, where it resides today. Executed in Rome, probably in the first century ce, it was recognised at the end of the sixteenth century as a replica of a piece forming part of a fourth-century bce group representing Queen Niobe of Thebes and her sons. Three other copies of the same subject are known, currently located in Florence, Dresden and Turin. The article discusses similarities and differences between the replicas, as well as their individual stories, with the aim of understanding how the model was read and interpreted when it was depicted on the Museum of New Zealand Te Papa Tongarewa sheet.