ROMAN MODELS.
The traveler visiting Rome notices in the Piazza di Spagna, along the Spanish steps, and in the Condotti, Fratina and Sistina streets, either sunning themselves or slowly sauntering along, many picturesquely-dressed men, women, and children, who, as he soon learns, are the professional models of the artists. For a fee of from fifty cents to a dollar, they will give their professional services for a sitting four hours in length, and those of them who are most in demand find little difficulty during the 'business season,' say from the months of November to May, in earning from one and a half to two dollars, and even more, every day. Many of them, living frugally, manage to make what is considered a fortune among the contadini in a few years; and Hawks, the English artist, who spent a summer at Saracenesca, found, to his astonishment, that one of the leading men of the town, one who loaned money at very large interest, owned property, and who was numbered among the heavy wealthy, was no other than a certain Gaetano, he had more than once used as model, at the price of fifty cents a sitting.
The government prohibiting female models from posing nude in the different life-schools, it consequently follows that they pose in private studios, as they choose; this interdiction does not extend to the male models; and when Caper was in Rome, he had full opportunities offered him to draw from these in the English Academy, and in the private schools of Gigi and Giacinti. Supported by the British government, the English artist has, free of all expense, at this truly National Academy, opportunities to sketch from life, as well as from casts, and has, moreover, access to a well-chosen library of books. With a generosity worthy of all praise, American artists are admitted to the English Academy, with full permission to share with Englishmen the advantages of the life-school, free of all cost; a piece of liberality that well might be copied by the French Academy, without at all derogating from its high position—on the Pincian Hill.
If Gigi's school is still kept up, (it was in a small street near the Trevi fountain,) we would advise the traveler in search of the picturesque by all means to visit it, particularly if it is in the same location it was when Caper was there. It was over a stable, in the second story of a tumble-down old house, frequented by dogs, cats, fleas, and rats; in a room say fifty feet long by twenty wide. A semi-circle of desks and wooden benches went round the platform where stood the male models nude, or on other evenings, male and female models in costumes, Roman or Neapolitan. Oil lamps gave enough light to enable the artists who generally attended there to draw, and color in oils or water-colors, the costumes. The price of admittance for the costume class was one paul, (ten cents,) and as the model only posed about two hours, the artists had to work very fast to get even a rough sketch finished in that short time. Americans, Danes, Germans, Spaniards, French, Italians, English, Russians, were numbered among the attendants, and more than once, a sedate-looking English-woman or two would come in quietly, make a sketch, and go away unmolested and almost unnoticed.
More than three-quarters of the sketches made by Caper at Gigi's costume-class were taken from models in standing positions. At the end of the first hour, they had from ten to fifteen minutes allowed them to rest; but these minutes were seldom wasted by the artist, who improved them to finish the lines of his drawing, or dash in color. The powers of endurance of the female models were better than those of the men; and they would strike a position and keep it for an hour, almost immovable. Noticeable among these women, was one named Minacucci, who, though over seventy years old, had all the animation and spirit of one not half her age; and would keep her position with the steadiness of a statue. She had, in her younger days, been a model for Canova; had outlived two generations; and was now posing for a third. If you have ever seen many figure-paintings executed in Rome, your chance is good to have seen Minacucci's portrait over and over again. Caper affirms that of any painting made in Rome from the years 1856 to 1860, introducing an Italian head, whether a Madonna or sausage-seller, he can tell you the name of the model it was painted from nine times out of ten! The fact is, they do want a new model for the Madonna badly in Rome, for Giacinta is growing old and fat, and Stella, since she married that cobbler, has lost her angelic expression. The small boy who used to pose for angels has smoked himself too yellow, and the man who stood for Charity has gone out of business.
'I have,' said Caper to me the other day, 'too much respect for the public to tell them who the man with red hair and beard used to pose for; but he has taken to drinking, and it's all up with him.'
Spite of fleas, rats, squalling cats, dog-fights, squealing of horses, and braying of donkeys, lamp-smoke, and heat or cold, the hours passed by Caper in Gigi's old barracks were among the pleasantest of his Roman life. There was such novelty, variety, and brilliancy in the costumes to be sketched, that every evening was a surprise; save those nights when Stella posed, and these were known and looked forward to in advance. She always insured a full class, and when she first appeared, was the beauty of all the models.
Caper was sitting one afternoon in Rocjean's studio, when there was a tap at the door.
'Entrate!' shouted Rocjean, and in came a female model, called Rita. It was the month of May, business was dull; she wanted employment. Rocjean asked her to walk in and rest herself.