The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-09-14

TRANSLATED From the italian (Jour-
nal of Romell

IN front or tho entrance to the Ma
tional Museum of The Termc, w TO
u Few days ago, one saw q closed gate,
and beyond this gate n short flight or
stairs. half hidden in a pergoln OF
wistarin and white roses. rho stair
way led to an upper story, which was
u email hanging garden, whore the
larger ncanthus leaves or sculptoriaI
foliage grew among the bushes or
o!eander, whilst in tho sprinktims
the violet punches OF wistaria. which
formed profound intricacy, rendered
the air dense with perfume
This little hanging garden. which
had it's African marble round table. its
marble fountain. It's fragments or
antique sculpture and cpigraphs-this
last picturesque corner which sur
vived the invasion of the modern city
served as vcstibule to the studio
or the American sculptor. Ezekiel. 1t
was about the year 1880. thirty three
years ago. that this artist. in love
with Rome and Italy. decided to es-
taOlish himself there, and found
studio the most adapted to his thought
full and poetic soul. Then the Macao
quarter WAS hardly accumulated, and
around the railroad station the III.
teenth century villa still existed. tho
villa pr Si%tus ". filed with its CEN
fury old Expresses. springing roun-
tains odorous plants
The Piazza di Termini did not exist.
nor was the Fountain or Rutcili there.
From ono large vase q jet of water
spoutcd up sixty feet In the air. with
its fcathery spray recording only the
inaugural ceremony or the Aqua
MARGIN. This ceremony was tho last
one in which Plus TX. presided as King
and as pope.
In that place. far away from the
old town. tho Baths OF Diocletlan
arose rs a mass of ruins and in these
ruins coal and wood and wine mer-
chants had found refuge. Inasmuch
as 1T was never thought that that
place could ever become the ~entrc OF
the new city. the municipality found
no difficulty In granting the use or
these ruins.
1T was In this way that the young
American sculptor obtained n lease for
tho use OF q portion Of them, and he
entered into this species of rock cavern.
out OF which. little by little. he CON
structed the most beautiful studio that
any artist ever dreamed of in the city
of beauty. AS man of good taste.
Ezekiel did everything in order to pre-
serve the primitive aspect of the walls
OF the ruins. He left the walls nude.
SO that one saw the old bricks of the
Diocletian Baths. and the immense
arch overhead preserved gigantic ifs
sures out Of which, every now and then,
ferns and yellow flowers timidly grew.
a very large yellow marble table, sup
ported by four hypogrins in white
marble. was the only furniture visible.
The others necessary to daily life were
hidden In inches in the walls. There
was under an immense window sec
ond flooring. which Ezekiel had trans
formed into a living room and nothing
could he more comfortable or elegant
than this little room, improvised and
reached b. "A large stairway
In the large studio. with the excep-
tion Of the sculptures made by the
owner himself there were no other
works OF art excepting behind the yell
low marble table an immense canvas
coal Burners in the Woods OF Marino,"
and 1t seemed as though one were
looking out OF a window onto IN au-
tumnal landscape.
But in this studio full of thought
and severity in this room which seems
TO perpetuntc in full modern activity
the rcinembrances and habits OF an
other life and OF another age. for
thirty odd years the artistic life of
Rome was developed. Because Ezekiel
was an ideal host. and with his simple
and patriarchal manner he had but one
pleasure in his hard working life. and
that was TO surround himself with
friends. But tho friends of Ezekiel,
Mole" as his int!,natcs call him. had
this particularly. They We're proven
friends and secure ones. He had no
natterera. because ne never sought any;
he had no ungrateful ones, because
tho help he gave he always did so
secretly that those who were benefited
never knew from whence il came. He
had no courtiers. no fools or snobs at