The sacred fire blazes like in the very first painting to date back to this new period: Alice. A new woman, Patrice, comes into the life of the artist. Her beauty, her tenderness and, above all, the void present inside her being, made her the ideal container in which the artist’soul could venture and take form, identifying itself completely with its model. It is as if Mazzucconi was now capable of seeing his own soul: no longer abstract, as it used to be, nor the shadow it was at the time of the Descent to Hades, nor even the shadow of the shadow it had been in more recent days, but rather a radiant being. The soul takes the leading role of matters regarding life and those regarding death, of the dialogue with the body, of metamorphosis and, at last, of the painful moment of a new goodbye. However, it is no longer the story of Orpheus and Eurydice. It is more similar to that of Proserpine who, kidnapped by Pluto, is returned to the heartbroken and weeping mother, Demeter, in alternate occasions. The simultaneous presence of both the tree’s inner branches and the roots, from this moment forth becomes the simultaneous presence of light and shadow, of life and death… and Mazzucconi’s painting thus becomes an inspired meditation. The last painting belonging to this period is the large Crucifixion in which, in the same way, both the pain and the overcoming of this pain appear together.