This paper attempts to explain the recurrent appearance of works of art in the films of Lina Wertmuller. The article asserts that there is a symbolic connection between the artifacts used in her naturalistic 'mise en scene' and the thematic directions, often seemingly chaotic, of her narratives. This correlation between setting and theme brings to light interesting aspects of the director's feminism and politics in general. The films discussed are Love and Anarchy, Seven Beauties and Night Full of Rain. The artifacts employed by this director are the Marcus Aurelius statue and the Neptune Fountain on the Capitoline Hill, The Roman Forum, copies of the Dioscuri statues and an antique statue of the Aphrodite. Further pieces are the Ara Pacis and Bronzino's Allegory of Love.