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studio door； and proposes to sit as Ajax defying the lightning； or
as King Lear upon the blasted heath。 One of them some time ago
called on a popular painter who； happening at the moment to require
his services； engaged him； and told him to begin by kneeling down
in the attitude of prayer。 'Shall I be Biblical or Shakespearean；
sir？' asked the veteran。 'Well … Shakespearean；' answered the
artist； wondering by what subtle nuance of expression the model
would convey the difference。 'All right； sir；' said the professor
of posing； and he solemnly knelt down and began to wink with his
left eye！ This class； however； is dying out。 As a rule the model；
nowadays； is a pretty girl； from about twelve to twenty…five years
of age； who knows nothing about art； cares less； and is merely
anxious to earn seven or eight shillings a day without much
trouble。 English models rarely look at a picture； and never
venture on any aesthetic theories。 In fact； they realise very
completely Mr。 Whistler's idea of the function of an art critic；
for they pass no criticisms at all。 They accept all schools of art
with the grand catholicity of the auctioneer； and sit to a
fantastic young impressionist as readily as to a learned and
laborious academician。 They are neither for the Whistlerites nor
against them； the quarrel between the school of facts and the
school of effects touches them not； idealistic and naturalistic are
words that convey no meaning to their ears； they merely desire that
the studio shall be warm； and the lunch hot； for all charming
artists give their models lunch。
As to what they are asked to do they are equally indifferent。 On
Monday they will don the rags of a beggar…girl for Mr。 Pumper；
whose pathetic pictures of modern life draw such tears from the
public； and on Tuesday they will pose in a peplum for Mr。 Phoebus；
who thinks that all really artistic subjects are necessarily B。C。
They career gaily through all centuries and through all costumes；
and； like actors； are interesting only when they are not
themselves。 They are extremely good…natured； and very
accommodating。 'What do you sit for？' said a young artist to a
model who had sent him in her card （all models； by the way； have
cards and a small black bag）。 'Oh； for anything you like； sir；'
said the girl； 'landscape if necessary！'
Intellectually； it must be acknowledged； they are Philistines； but
physically they are perfect … at least some are。 Though none of
them can talk Greek； many can look Greek； which to a nineteenth…
century painter is naturally of great importance。 If they are
allowed； they chatter a great deal； but they never say anything。
Their observations are the only BANALITES heard in Bohemia。
However； though they cannot appreciate the artist as artist； they
are quite ready to appreciate the artist as a man。 They are very
sensitive to kindness； respect and generosity。 A beautiful model
who had sat for two years to one of our most distinguished English
painters； got engaged to a street vendor of penny ices。
On her marriage the painter sent her a pretty wedding present； and
received in return a nice letter of thanks with the following
remarkable postscript： 'Never eat the green ices！'
When they are tired a wise artist gives them a rest。 Then they sit
in a chair and read penny dreadfuls； till they are roused from the
tragedy of literature to take their place again in the tragedy of
art。 A few of them smoke cigarettes。 This； however； is regarded
by the other models as showing a want of seriousness； and is not
generally approved of。 They are engaged by the day and by the
half…day。 The tariff is a shilling an hour； to which great artists
usually add an omnibus fare。 The two best things about them are
their extraordinary prettiness； and their extreme respectability。
As a class they are very well behaved； particularly those who sit
for the figure； a fact which is curious or natural according to the
view one takes of human nature。 They usually marry well； and
sometimes they marry the artist。 For an artist to marry his model
is as fatal as for a GOURMET to marry his cook： the one gets no
sittings； and the other gets no dinners。
On the whole the English female models are very naive； very
natural； and very good…humoured。 The virtues which the artist
values most in them are prettiness and punctuality。 Every sensible
model consequently keeps a diary of her engagements； and dresses
neatly。 The bad season is； of course； the summer； when the artists
are out of town。 However； of late years some artists have engaged
their models to follow them； and the wife of one of our most
charming painters has often had three or four models under her
charge in the country； so that the work of her husband and his
friends should not be interrupted。 In France the models migrate EN
MASSE to the little seaport villages or forest hamlets where the
painters congregate。 The English models； however； wait patiently
in London； as a rule； till the artists come back。 Nearly all of
them live with their parents； and help to support the house。 They
have every qualification for being immortalised in art except that
of beautiful hands。 The hands of the English model are nearly
always coarse and red。
As for the male models； there is the veteran whom we have mentioned
above。 He has all the traditions of the grand style； and is
rapidly disappearing with the school he represents。 An old man who
talks about Fuseli is； of course； unendurable； and； besides；
patriarchs have ceased to be fashionable subjects。 Then there is
the true Academy model。 He is usually a man of thirty； rarely
good…looking； but a perfect miracle of muscles。 In fact he is the
apotheosis of anatomy； and is so conscious of his own splendour
that he tells you of his tibia and his thorax； as if no one else
had anything of the kind。 Then come the Oriental models。 The
supply of these is limited； but there are always about a dozen in
London。 They are very much sought after as they can remain
immobile for hours； and generally possess lovely costumes。
However； they have a very poor opinion of English art； which they
regard as something between a vulgar personality and a commonplace
photograph。 Next we have the Italian youth who has come over
specially to be a model； or takes to it when his organ is out of
repair。 He is often quite charming with his large melancholy eyes；
his crisp hair； and his slim brown figure。 It is true he eats
garlic； but then he can stand like a faun and couch like a leopard；
so he is forgiven。 He is always full of pretty compliments； and
has been known to have kind words of encouragement for even our
greatest artists。 As for the English lad of the same age； he never
sits at all。 Apparently he does not regard the career of a model
as a serious profession。 In any case he is rarely； if ever； to be
got hold of。 English boys； too； are difficult to find。 Sometimes
an ex…model who has a son will curl his hair； and wash his face；
and bring him the round of the studios； all soap and shininess。
The young school don't like him； but the older school do； and when
he appears on the walls of the Royal Academy he is called THE
INFANT SAMUEL。 Occasionally also an artist catches a couple of
GAMINS in the gutter and asks them to come to his studio。 The
first time they always appear； but after that they don't keep their
appointments。 They dislike sitting still； and have a strong and
perhaps natural objection to looking pathetic。 Besides； they are
always under the impression that the artist is laughing at them。
It is a sad fact； but there is no doubt that the poor are
completely unconscious of their own picturesqueness。 Those of them
who can be induced to sit do so with the idea that the artist is
merely a benevolent philanthropist who has chosen an eccentric
method of distributing alms to the undeserving。 Perhaps the School