Gabriele d'Annunzio had carefully placed in the Prioria of Vittoriale two photos of the actress Eleonora Duse in two different moments of her life: in the youth (Stanza del Lebbroso) and in the old age (Veranda dell’Apollino). Both portraits were taken when Duse was on tour: the first by Paul Audouard in 1890s, and the second by Arnold Genthe in 1923. Aiming to make immortal his beloved woman, the Poet had created an extraordinary game of mirrors in which, between reflections and doublings, is ideally linked to the novel The Flame of Life – with a particular emphasis on the departure of Foscarina (alter ego of Eleonora) for a tour in America and her separation from Stelio Effrena (alter ego of d’Annunzio). This essay offers a reflection on Duse’s presence in Vittoriale, considering the photographic traces with their poetic and symbolic value.