First I lived in Rome, and my husband was the bureau chief to the Mediterranean for Newsweek. So, he traveled a lot and I was on my own a lot. And in Rome, I lived in a very different atmosphere than in Todi because we lived in different civilization, and depending on where you lived in the city, you lived in Rome of the Caesars or the Rome of the Renaissance or the Baroque Rome. And I also was surrounded by the kind of statuary that is all of — you see all through art history and history.

But when I got to Todi, and when I got here I was one of the only foreigners here, you are in St. Francis country. So, a very mystical place, and very quiet compared to noisy Rome. And Bill was writing books and I was by then sculpting, and it was sufficiently small that everything was accessible and big enough to be private. But there was something still about the Umbrian landscape, that had something that I — really require in my art, which is something unexplainable, not explainable. ((Out Of My Loneliness)) And when they try to explain Umbria, they talk about the footsteps of St. Francis et cetera.

For me it’s all of history, and it’s a very, very beautiful municipal place, and at the — when I first got here, I was so isolated that I was able to go within myself, I had — and not get involved with what was happening — what was in, what was out, and it gave me a chance to explore myself and understand where I wanted to go. ((Vow Of Poverty)) Not that one does ever know where one wants to go, but you keep searching.