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    i 296 HARRIET EO.SMEB.

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  • Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.

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    -* E* Ik The Via Fontanella At Rome,—A S...

    The threshold crossed , the visitor finds himself at once in ih ® midst of this artist ' s numerous works . In a large , barn-like shedy

    with a floor of earth , on pedestals of various materials , shapes and the size Psyche Paris s noble , stand and borne basso Proserp the by beautiful relievii the ine Zep gathering of h Cup yrs Phaeton id , of and H flowers y and Butterfl las and the , the y the Hours , the charming Water wounded leading Nymp groups forth Amazon hs , and the of , -

    Horses of the Sun , with perhaps , a bust or figure in progress by the counterpart numerous workman whose visitors opening duty . Facing into it is a the to fairy keep door -like the of square entry studio just p - lot and of described attend garden , to , is filled the its .

    with with violets orange , and blue lemon and white trees , and cape roses jasmine ; and , and in the lilies spring of the , _flagrant valley ;

    fountain while , in of a , crystal shady - recess clear water and fern . The grown sun nook floods trickles this tiny a perpetual garden _,

    with dows , his and golden wooing lig his ht , flecking way , royal the and trellised irrestible walks lover with broken as he is sha , to - their

    the humbler floral divinities- of the place , sheltered beneath own Lovel green is the leaves effect , of or this in rich the superb low of sunli shade ht of as the one acanthusv stands ivt g

    the shade y of the studio , perfumed g with the sweet , blossoms of the sence south ; of lovel "which y the we aspect are so both suddenl of y nature and unexpectedl and of art y , into ushered the from

    prefriends int the o ug the ly , garden or dirty the street , and friends turning without of friends . to the Having we right are gazed , if next we our be ushered fill favored here , into visitors we step the ?

    sanctum , of the master himself , , whom we shall probably find a engage kind d and in modelling genial welcome , and from granting whom always we shall that certainl we have y receive some

    , claim for our intrusion upon his privacy . This room , long and narrow , is boarded and has some pretensions

    to comfort , but throughout the whole range of studios , the absence of care and attention will strike the eye , more especially as it is the

    present fashion in Rome to render the studios , both of painter and sculptor , as comfortable are taken and into habitable another as possible h shed . From where Mr the . Gibson' s _> we process

    own of transformation room , from laster to marble roug is carried , onand where frequent visitors cannot p fail to discover the vast difference , which

    exists in skill and natural aptitude among the numerous workmen known employed it . As not the be different out of lace processes here to of throw sculpture some are li but ht little p gupon

    them . , The may artist himself models the figure , bust or group , whichever it may be , in clay , spending all his skill , time and labor on this

    first stage . When complete , —and many months , sometimes even from into years marble the of unwearied clay , the figure , artist study , from superintending are which given cast to the the it task , workmen and , — reserving a plaster put cast the to is himself subj taken ect

    the more delicate task of finishing . ThorwaLsden , speaking of these

    I 296 Harriet Eo.Smeb.

    i 296 HARRIET EO . SMEB .

• Citation
  • English Woman’s Journal (1858-1864), July 1, 1858, page 296, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01071858/page/8/