Whole floor with a wrap-around terrace, Via Vittorio Veneto

All the photographs were taken on 20 October 2026, an overcast day with a storm on the way: 22 come from the home's 3D virtual tour, scanned that day (snapshots from the tour and views taken from its 360-degree panoramas), and the other 26 were shot with a drone (stills and frames from video) and with a phone. In 21 of the 48 photographs a generative image model (Google's Nano Banana family, used through the Higgsfield platform) was used for one purpose only: to remove, in clearly bounded areas, movable objects and, for privacy, a few people. Removed were doormats, lamps, two teapots, a cloth, a chest of drawers, a ladder, planks, boxes, a sheet, a slatted bed base and a pack of flooring, bathroom toiletries, planters with dry plants, a clothes airer, a container, a board leaning against the wall, a small table, a tripod, a clothes rack, a dry branch and, in the attic, a coat stand, two bedside tables, a stool, bags and a chair.

Left on purpose were the sofas and lamps in the sitting room, the paper lamp in the large bedroom, the corridor rug, the box of floorboards in the large bedroom, the hose under the laundry tap, the pot, broom and two objects at the far end of one side of the terrace, the curtains and a small cabinet in the attic, and the contents of the cellar. Without artificial intelligence, names on the letterboxes, a number plate and a few reflections were blurred, a few distant people were removed by hand, and the lower part of an open French window, hidden by a small table, was completed by hand. Where the model removed something, what lay behind it had not been photographed: the model reconstructed it plausibly; this also applies to a stretch of the terrace's glass parapet, to the tap and shelf in one bathroom, to a stretch of terrace floor with a crack under the removed branch and, in the attic, to the wall and floor where the objects stood, including some flaking near the floor that nobody photographed.

Nothing else was changed: dimensions, openings, floors, window frames, systems, finishes and views, the castle included, are as photographed, and no defect was hidden: the lifted parquet in the large bedroom, the stains and cracks on the terrace floor, the flaking plaster in the attic outside the reconstructed area, the blackened parapet of the small terrace on the fifteenth floor and the stains in the cellar are as they are. The sky in every photograph is the real sky of that day. Light and colour were corrected as in ordinary photo retouching: the drone shots, the views and the terrace with one uniform correction that lifts the shadows (in the terrace photos the stains look slightly lighter than in the original shot, but they are all there); the interiors with a warmer finish; the attic, shared areas, cellar and garage with a correction adjusted photo by photo.

The original photographs are available on request; a viewing remains the only reference for the real condition of the home.