Toward the end of my first pursuit of the sectional composition and development of sculpture in Italy, The Void took on the form of its grandeur. It and the Bardiglio In Silence Walking were both made in the outdoor studio that Erminio Cidonio had established for me. He had retired to the countryside outside Pietrasanta intending to establish a facility for sculptors similar to the one he had made at Henraux, to which I had been introduced by Henry Moore when we met at UNESCO in 1958.