One of the stranger, more morbidly intimate footnotes in Lewis's life concerns his relationship with the artist Charles Ricketts. Introduced via the Russian singer Vladimir Rosing, Ricketts became Lewis’s artistic mentor and patron in the 1920s; after Ricketts’s death in 1931 Lewis edited his letters and journals for publication. The closeness of the bond was literalized in an eccentric gesture: some of Ricketts's ashes were interred in the park of Lewis's villa at Arolo on Lake Maggiore — the same villa Ricketts had helped Lewis acquire, giving him £300 toward the purchase. The burial of ashes on private villa grounds, combined with Lewis’s role as editor and custodian of Ricketts’s literary legacy, made the villa a curious shrine to an intimate artistic friendship. Far from a Hollywood myth, the episode was reported in biographical sources and stands as a vivid example of the era’s mingling of patronage, possessiveness and theatrical devotion among bohemian circles in Europe.
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