Roberto Pane (1908-1987), an architectural historian and theoretician of monumental restoration of international standing, had a long association with the centers of the Sorrento-Amalfi peninsula, full of studies, planning and graphic works. Here we omit to list the numerous and fundamental disciplinary contributions as an architect and historian, to highlight his own activity which Pane always had a sort of modesty to discuss, both in his writings and in his conversations, that of designer, painter and engraver (as well as of an expert photographer-film documentary maker) and of which there remain printed examples of great artistic value, such as the volume “Architettura rural campana” (Florence, 1936) with 53 black and white drawings, and the portfolio of lithographs from 1958 which we are dealing with. This graphic series, in a well-kept folder with a beautiful graphic composition, created in 500 numbered copies at the renowned typo-lithographic workshop of the De Marino Brothers, includes 12 large and magnificent lithographs (58.5 x 42 cm) , five in black and seven in colour, title page and a sheet of calligraphic text in which the Author briefly discusses the peculiarity and technical evolution of the lithographic medium, with great expressive potential almost like "...crayon and grease pencil writing that no amount of solicitation helped to achieve; and this, of course, is said only with regard to the medium used, that is, regardless of any critical evaluation", he says with the modesty and reserve that we mentioned when he spoke of his artistic endeavors; However, we want to make a critical evaluation, and we say that they are high-level tests in terms of originality of the line, chromatic sensitivity and technical expertise. It should also be remembered that Pane's first printed work (reported in the vast bibliography recently updated by Giulio and Andrea Pane) is precisely a graphic test, entrusted to him by his high school teacher Francesco Moroncini: the illustrations of an edition of the "Canti di Giacomo Leopardi . Commented by him himself" edited by Moroncini for the publisher Sandron in 1917. Even if in the years following his degree the activity of architect and architectural historian, trained by Croce, prevailed over his activity as a graphic designer and painter, Pane did drawing self-produced linework and photography are the usual accompaniment of his writings, as is the case for the two rare monographs on Renaissance (1937) and Baroque (1939) architecture in Naples, for the "unexpected Naples" published by Einaudi in 1949 and for the almost all of his works. Another sign of his ancient vocation and predilection for graphics is given by the many writings and references on Piranesi's engraving activity. (from the article by Alessio De Dominicis in "The city of Salerno - 11 January 2016").