Mole Antonelliana

Pick any four 4-inch tiles — National Parks you've been to, a Smokies set, the four seasons of one place. $ for a set of , cork-backed, ready to live on the table.

Each tile ships in a kraft box, tied with cream ribbon, with a handwritten note from the studio if you'd like to add one.

Three or five different vistas, hung together — a chapter of places you've been, or want to go.

The Mole Antonelliana stands in central Turin, the capital of the Piedmont region in northwestern Italy, on Via Montebello a short walk east of Piazza Castello and the Royal Palace. The tower rises 167.5 metres and serves as the visual symbol of the city.

Mole is the Italian word for a building of monumental size. Antonelliana honours the architect Alessandro Antonelli, who designed the structure in 1863 and kept revising it upward over twenty-six years until completion in 1889.

Yes. Turin's Jewish community commissioned Antonelli in 1863 to build a new synagogue. As his design grew taller and more elaborate, costs outran the brief. The community withdrew from the project in 1876, and the City of Turin acquired the unfinished building two years later.

The current height is 167.5 metres, measured to the tip of the aluminium spire. When completed in 1889, the Mole was among the tallest brick structures in the world. The present figure follows a 1961 restoration after a windstorm broke off the upper section in May 1953.

Since July 2000 the building has housed the Museo Nazionale del Cinema, one of the most important museums of film history in Europe. A panoramic elevator climbs through the centre of the great hall to a viewing balcony eighty-five metres above the square.

Each Italian euro coin features a national monument. The two-cent piece uses the Mole Antonelliana to represent Turin and the Piedmont region. The image was selected when Italy issued its first euro coins for general circulation in January 2002.

The panoramic elevator runs daily except on the museum's weekly closure. Clear winter mornings give the longest views of the western Alps. Late spring and autumn evenings light the brick face in warm tone from the south-west. Heavy summer haze can shorten the view from the top.

It carries well for people who studied at the Politecnico, lived in Piedmont, or have a family connection to the city. The Mole reads as Turin to anyone who knows the skyline. A Small or Medium with a handwritten note from the studio is a common choice.

The deep blues and warm ambers of the stained-glass treatment sit naturally in Italian Modern, Library Eclectic, and Jewel-tone Maximalist rooms. The Mole's vertical composition also reads well on narrow stairwell walls and entry-hall installations where height matters more than width.

Yes. Library Eclectic and European Heritage interiors lean on framed architectural studies, brass, leather, and warm wood. A Medium in glossy finish reads as a found Continental print rather than a souvenir, which is the line those rooms want.

A single Large is the usual choice above a standard sofa. Above a console table or a console-and-mirror grouping, a Medium centred on the console reads in proportion. For a tall focal wall, a 4-tile Mural carries the Mole's silhouette at near-architectural scale.

Yes. Order the Dura Satin or Matte finish for any installation that meets steam, splashes, or daily cleaning. Both finishes are scratch-resistant, and the colour lives in the ceramic surface, so it will not lift or yellow with humidity.

A microfibre cloth and warm water handle everyday dust and fingerprints. For kitchen installations, a mild dish soap diluted in water removes cooking residue. Skip abrasive pads and acidic cleaners. The colour is fixed in the surface and does not lift.

Yes. Every WenderVista piece is original work from our studio in Knoxville, Tennessee. The Mole image was painted in our stained-glass and alcohol-ink language, then slowly infused into the ceramic surface under high heat and pressure beneath a thin glossy finish.