Piazza Venezia

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.

Piazza Venezia is a large square at the centre of Rome, in the Lazio region of Italy. It sits below the Capitoline Hill where several major streets meet, including Via del Corso and Via dei Fori Imperiali, which runs toward the Colosseum.

It is the Victor Emmanuel II Monument, also called the Vittoriano or Altar of the Fatherland, built to honour the country's first king. Made of white Botticino marble, it stands about 70 metres high and 135 metres wide, begun in 1885 and finished in 1935.

The square is named after Palazzo Venezia, the fifteenth-century palace on its western side. The palace served as the embassy of the Republic of Venice in Rome from 1564. In the twentieth century it became Mussolini's headquarters, and he spoke from its balcony.

The monument holds the Tomb of the Unknown Soldier, where a fallen Italian from the First World War was buried in 1921 beneath an eternal flame guarded around the clock. It also contains a museum of the Risorgimento, the movement that unified Italy.

Yes. Climbing the marble stairs to the Altar of the Fatherland is free, and a glass lift added in 2007 carries visitors to a rooftop terrace. From there the view reaches over the Roman Forum, the Pantheon and the rooftops of central Rome.

The nickname comes from its tiered white marble, which resembles a layered cake; others call it the typewriter for its shape. The pale Botticino marble stands out against Rome's older ochre and travertine buildings, which is part of why it draws the eye.

It has been a meaningful gift for people with ties to the city. Piazza Venezia is the crossroads almost everyone in Rome passes through, and the white monument is one of the first things you see arriving in the centre. A Small or Medium with a handwritten note from the studio carries well.

The piece pairs well with warm, classic interiors such as Italian-modern, jewel-tone maximalist, and traditional European rooms. The stained-glass colour reads as art rather than a souvenir, so it holds its own over a console table or in a gallery wall of travelled places.

Travel-led art is steadily replacing generic prints, and a single named place reads as more personal than a poster. The deep stained-glass palette suits the current move toward jewel tones and warmer, collected interiors rather than all-white minimalism.

Above a console table, a single Large holds the wall on its own. Above a sofa, a 4-tile Mural gives the scale the longer wall wants, and a 9-tile Mural suits a large feature wall. Smaller rooms do well with a Medium.

Yes. For a kitchen backsplash, a bathroom or a shower wall, order the Dura Satin or Matte finish, which is soft-sheen and scratch-resistant for vertical, damp installations. The glossy finish is better kept to framed wall pieces in drier rooms.

A soft microfibre cloth and water is all it needs. The colour is slowly infused into the ceramic surface under high heat and pressure and lives beneath a thin glossy finish, so it will not fade or lift with normal cleaning. Avoid abrasive scrubbers.

Yes. Every WenderVista piece is created in-house by Reid Wender, the studio's curator, in our own stained-glass visual language. Nothing is licensed or reproduced from another artist, so the Piazza Venezia tile exists only here.