The morning news. [volume] (Savannah, Ga.) 1887-1900, 1899-05-07

whatever inducement would be needed;
they must tell him of the history and the
| people he was to represent; talk with him
of the ideals he was TO give expression to,
relate the romance he was to symbolic.
He was so reverentiy conscientious that
these great artists came TO look upon and
treat him as a friend rather than as paid
employe. and took him with them quite as
one of themselves on their quaint festas
In the Cervera grottoes and TO their
famous Artichoke feasts at Father Abra-
hams. past the Cene palace
The Great Model on His Throne.
Like the great artists who 'Live-not
act" on the placosenico so is Carlo on his
throne in The artists studio Re carries
himself with such dignity and moves with
such agile and perfect grace that no one
ever stops 70 think how tall he IS. His
features, capable of expressing the deep
est passion and the Hottest sentiment, are
purely Greek His carriage and expression
remind one of proud Roman of the i'm
perisl days In his younger days his soft
brown hair chair and beard are both snow
white now was wavy and he wore it in
masses carelessly tossed back from his
broad white brow. His absorption in his
subjects was one reason for his endurance
of fatigue in set poses which was as re-
markable and valuable as his other rare
qualities.
one of the studios where Carlo most
loved TO go in the hours that were free
from his adored Villa Medici was that of
the great artist, Crawford, Villa Ne
groni Carlo never tires of speaking of
Mrs Crawford, now the wife of that great
master of form and color-Terry. Craw
ford was so grandly sincere, Carlo says,
that to him his weI-known severity was
but like another charm. 1t was in the
Villa Negroni studio that Carlo posed for
Crawfords superb statue of Washington
which is one of the chief treasures in our
national capitol
1t was here, too. that he posed for our
other great artist, William Wetmore
Story's first work-the colossal figure of
his father which marks his resting place
at Mount Auburn, and whose development
made Story himself an artist. How gen
lie and how kind he was. and how grand
and full of noble sentiment were his
idealsg' says Carlo, while tear glistens
in his eye. and his voice is tremulous.
Carlo knows and honors, TOO, and is hon
ored by Story's gifted son.
Carlos figure is very prominent one
| on the great bronze doors al Washington,
which Rhinehart and Rogers finished from
| Crawfords designs; on one he is an IN
| dian chief, and on the other continental
| OIlceT. w nat great, none nedit fkulHt-
hart had, and how varied was Rogers
geniusr Carlo exclaims.
Posed as LongfeIIOw and Penn.
Carlo posed for Franklin Simmons ia
nous Longfelow, and, in one Of Phila-
| delphias finest squares, we find him az
william Penn treaty in hand. In his art
fiesta "reminiscences, Carlo speaks very
brightly of Miss Hosmer, who was always
a central figure at these historic gather
ings.
"She was a luxurious hostess, and such
| a splendid horsewoman," ne excaims,
''even in the early days when she studied
with John Gibson, where the great An
dreoni Gallery now stands
He divided many days between Corne-
Illus and Overlook, posing for the latter's
splendid Adam and for the formers ia
nous Berlin Campo Santo works. They
lived al quite opposite ends of the city
for though the public saw nothing but
politeness between these two great ar
fists, they were not the best of friends.
Though their schools and methods were
so different" says Carlo there was much
of jealousy between them Cornelius
was always vivacous worker. stopping
| occasionally for a glass of wine and cl-
gar in which he always insisted that l
should join him. The positions he de-
manded were some of the most fatiguing
in which l ever posed. Overlook on the
contrary, worked quietly. almost silently.
In the street, Cornelius walked with quick,
firm steps; Overlook, ponderingly and
much more slowly, a little STOPPING and
with cane"
Carlo knew very well indeed the fine Via
Margutta studio of Mr. Terry as well as
the studios Of all the other great artists.
Count d 'Epine chose MIN as his model in
both the famous statues of himself aud
of his father. one as governor of India.
the other British general.
Although he would dearly love to travel
Carlo has hardly been outside of Rome.
But, as large as is the world SO may
l be found there" he says proudly, as
II he finds some solace for his own priva-
ton. Il would go to America quickly.
if l could and there 1 should meet myself
like an old friend everywhere l went"
Artists Whom He Has known.
Carlos first work for Rogers was when
that celebrated artists studio was at
Piazza Barberni, midway between the
quaint little house where Louis Alcott
passed two happy years. and that wing
of the Cappucciui Monastery which was
first the studio of Thorwaldsen then of
Achtmann, the religious artist" and then
of Luella Narney Serrao Carlo never
tires Of speaking of Thorwaldsens splen-
did figure and ane presence and the FAM