We get on but indifferently with our studies with this young lady, and, to tell the truth, not too well in Fatima's good graces. Our opportunities are not great, our command of Arabic is limited, and indeed, we do not feel particularly inspired.
We cannot tell her many love stories, or sing songs set to a 'tom-tom;' we can, indeed, offer 'backshish' in the shape of tobacco and sweetmeats, or some trifling European ornament or trinket; but it is clear that she would prefer a greater amount of familiarity, and more demonstrative tokens of esteem. However, she came several times, and we succeeded in obtaining some valuable studies of colour, and 'bits,' memoranda only; but very useful, from being taken down almost unconsciously, in such a luminous key, and with a variety of reflected light and pure shadow tone, that we find unapproachable in after work.
As for sketches of character, we obtained very few of Mauresques; our subjects were, as a rule, much too restless, and we had one or two 'scenes' before we parted. On one unfortunate occasion our model insisted upon examining our work before leaving, and the scorn and contempt with which it was regarded was anything but flattering.
It nearly caused a breach between us, for, as she observed, it was not only contrary to her creed to have her likeness taken, but it would be perdition to be thus represented amongst the Franks. * We promised to be as careful of this portrait as if it were the original, and, in fact, said anything to be polite and soothing.
* For fear of the 'evil eye.' There is a strong belief
amongst Mahommedans that portraits are part of their
identity; and that the original will suffer if the portrait
receive any indignity.
On another occasion, we had been working on rather more quietly than usual for half-an-hour, and were really getting a satisfactory study of a new position, when, without apparent cause or warning of any kind, the strange, pale, passionless face, which stared like a wooden marionette, suddenly suffused with crimson, the great eyes filled with tears, the whole frame throbbed convulsively, and the little creature fell into such a passion of crying that we were fain to put by our work and question ourselves whether we had been cruel or unkind. But it was nothing: the cup of boredom had been filled to the brim, all other artifices had failed her to obtain relief from restraint, and so this apparently lethargic little being, who had it seemed, both passion and grief at command, opened the flood-gates upon us, and of course gained her end. There was no more work that day, and she got off with a double allowance of bonbons, and something like a reconciliation. She gave us her little white hand at parting—the fingers and thumbs crowded with rings, and the nails stained black with henna—but the action meant nothing; we dare not press it, it was too soft and frail, and the rings would have cut her fingers, we could only hand it tenderly back again, and bid our 'model' farewell.
We got on better afterwards with a Moorish Jewess who, for a 'consideration,' unearthed her property, * including a tiara of gold and jewels, and a bodice of silver embroidery worked on crimson velvet; we purposely reverse the position and speak of the embroidery first, because the velvet was almost hidden. She came slouching in one morning, closely wrapped in a dirty shawl, her black hair all dishevelled and half covering her handsome face, her feet bare and her general appearance so much more suggestive of one of the 'finest pisantry in the world,' that we began to feel doubtful, and to think with Beau Brummel that this must be 'one of our failures.' But when her mother had arranged the tiara in her hair, when the curtain was drawn aside and the full splendour of the Jewish costume was displayed—when, in short, the dignity and grace of a queen were before us, we felt amply rewarded.
* Many of the poorest Jewesses possess gold ornaments as
heirlooms, burying them in the ground for security, when not
in use.
The Jewish dress differs from the Mauresque entirely; it is European in shape, with high waist and flowing robes without sleeves, a square cut bodice, often of the same material as the robe itself, and a profusion of gold ornaments, armlets, necklaces, and rings. A pair of tiny velvet slippers (also embroidered) on tiny feet, complete the costume, which varies in colour, but is generally of crimson or dark velvet.
As a 'model,' although almost her first appearance in that character, this Jewish woman was very valuable, and we had little trouble after the first interview, in making her understand our wishes. But we had to pay more than in England; there were many drawbacks, and of course much waste of time. On some holydays and on all Jewish festivals, she did not make her appearance, and seemed to think nothing of it when some feast that lasted a week, left us stranded with half-done work.