Jerome’s first step was to try to prove that Evelyn had posed in the nude. He first showed her a photograph of herself taken in 1904. It showed Evelyn in a kimono—the famous one given her by Stanford White. There was nothing offensive in the pose as disclosed by a view of the picture.
Mr. Jerome by his next few questions indicated that he did not intend to spare the feelings of the young woman in any way. He interrogated her sharply as to the details of her dress when she was posing for artists in Philadelphia and New York, seeking to learn whether she posed in “the altogether” or partially draped. The prosecutor persisted in certain questions even after Mr. Delmas had objected, and insisted on having definite answers, though Mrs. Thaw usually said she could not exactly remember.
“Was there any exposure of the person or did you wear the so-called artistic draperies?”
“I would not say that,” replied the witness. “I posed in a Greek dress and a Turkish costume.”
Jerome questioned her especially as to her posing in New York, asking whether she had ever been photographed or painted with her person exposed. She answered positively that she had never posed in such a condition.
“You are certain you never posed for a painting or photograph in such a manner?” asked Jerome.
“I never did—I always posed with clothes on.” She moved her hands from her throat to her waist and said: “Do you mean without anything on here? I have posed in low-neck, but never, never like that.”
Then Mrs. Thaw told how she won her New York reputation as a model. She sent a picture of herself, under the name of Florence Evelyn to a New York magazine and soon was besieged by artists. Her mother aided her in her search for work.
Jerome cross-examining Evelyn Nesbit Thaw.