“What do you say?” he demanded, anxiously.
Artists often pay more serious attention to the criticisms of their models than to those of a brother artist. For, although models may be ignorant of method—which, however, is not always the case—from seeing so much good work they acquire a critical acumen which often goes straight to the mark.
It was for one of these keen criticisms that the young man was listening now.
“I like it very much—very much,” answered the girl, slowly; “but, you see—I am not so cold in the face—am I?”
“Hit it, as usual,” muttered the artist, biting his lip; “I’ve got more greens and blues in there than there are in a peacock’s tail. You’re right,” he added, aloud, “I must warm that up a bit—there in the shadows, and keep the high lights pure and cold.”
Elise nodded seriously. “Monsieur Chaplain and I have finished our picture,” she announced, after a pause.
It is a naïve way models have of appropriating work in which, truly enough, they have no small share. They often speak of “our pictures” and “our success.”
“How do you like it?” asked the artist, absently.
“Good,”—she shrugged her shoulders—“but not truth.”
“Right again,” murmured Gethryn.