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on their work are the traces of their hand。  But it is not so with

the painter; it is not so with the artist。



Art should have no sentiment about it but its beauty; no technique

except what you cannot observe。  One should be able to say of a

picture not that it is 'well painted;' but that it is 'not

painted。'



What is the difference between absolutely decorative art and a

painting?  Decorative art emphasises its material:  imaginative art

annihilates it。  Tapestry shows its threads as part of its beauty:

a picture annihilates its canvas:  it shows nothing of it。

Porcelain emphasises its glaze:  water…colours reject the paper。



A picture has no meaning but its beauty; no message but its joy。

That is the first truth about art that you must never lose sight

of。  A picture is a purely decorative thing。









LONDON MODELS









PROFESSIONAL models are a purely modern invention。  To the Greeks;

for instance; they were quite unknown。  Mr。 Mahaffy; it is true;

tells us that Pericles used to present peacocks to the great ladies

of Athenian society in order to induce them to sit to his friend

Phidias; and we know that Polygnotus introduced into his picture of

the Trojan women the face of Elpinice; the celebrated sister of the

great Conservative leader of the day; but these GRANDES DAMES

clearly do not come under our category。  As for the old masters;

they undoubtedly made constant studies from their pupils and

apprentices; and even their religious pictures are full of the

portraits of their friends and relations; but they do not seem to

have had the inestimable advantage of the existence of a class of

people whose sole profession is to pose。  In fact the model; in our

sense of the word; is the direct creation of Academic Schools。



Every country now has its own models; except America。  In New York;

and even in Boston; a good model is so great a rarity that most of

the artists are reduced to painting Niagara and millionaires。  In

Europe; however; it is different。  Here we have plenty of models;

and of every nationality。  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。  '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 s

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