The Italian models are the best. The
natural grace of their attitudes, as well as the wonderful
picturesqueness of their colouring, makes them facile - often too
facile - subjects for the painter's brush. The French models,
though not so beautiful as the Italian, possess a quickness of
intellectual sympathy, a capacity, in fact, of understanding the
artist, which is quite remarkable. They have also a great command
over the varieties of facial expression, are peculiarly dramatic,
and can chatter the ARGOT of the ATELIER as cleverly as the critic
of the GIL BLAS. The English models form a class entirely by
themselves. They are not so picturesque as the Italian, nor so
clever as the French, and they have absolutely no tradition, so to
speak, of their order. Now and then some old veteran knocks at the
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.
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