what makes your animals look so bright,' said Caper one day to one of the keepers.
'Come here to-morrow morning early, when we make their toilettes, and you'll see,' replied the man, laughing. 'Why, there's that old hog of a lion, he's as savage and snaptious before he has his medicine as a corporal; and looks as old as Methusaleh, until we arrange his beard and get him up for the day. As for the ellllephant … ugh!'
Caper's curiosity was aroused, and the next morning, early, he was in the menagerie. The first sight that struck his eye was the elephant, keeled over on one side, and weaving his trunk about, evidently as a signal of distress; while his keeper and another man were—blacking-pot and shoe-brushes in hand—going all over him from stem to stern.
'Good day,' said the keeper to him, 'here's a pair of boots for you! put outside the door to be blacked every morning, for five francs a day. It's the dearest job I ever undertook…and the boots are ungrateful! Here, Pierre,' he continued to the man who helped him, 'he shines enough; take away the breshes, and bring me the sand-paper to rub up his tusks. Talk about polished beasts! I believe, myself, that we beat all other shows to pieces on this 'ere point. Some beasts are more knowing than others; for example, them monkeys in that cage there. Give that big fool of a shimpanzy that bresh, Pierre, and let the gentleman see him operate on tother monkeys.'
Pierre gave the large monkey a brush, and, to Caper's astonishment, he saw the animal seize it with one paw, then springing forward, catch a small monkey with the other paw, and holding him down, in spite of his struggles, administer so complete a brushing over his entire body that every hair received a touch. The other monkeys in the cage were in the wildest state of excitement, evidently knowing from experience that they would all have to pass under the large one's hands; and when he had given a final polish to the small one, he commenced a vigorous chase for his mate, an aged female, who, evidently disliking the ordeal, commenced a series of ground and lofty tumblings that would have made the fortune of even the distinguished—Léotard. In vain: after a prolonged chase, in which the inhabitants of the cage flew round so fast that it appeared to be full of flying legs, tails, and fur, the large monkey seized the female and, regardless of her attempts to liberate herself, he brushed her from head to foot, to the great delight of a Swiss soldier, an infantry corporal, who had entered the menagerie a few minutes before the grand hunt commenced.
'Ma voi!' said the Swiss, pronouncing French with a broad German accent, 'it would keef me krate bleshur to have dat pig monkey in my gombany. He would mak' virst rait brivate.'
The keeper, who was still polishing away with sand-paper at the elephant's tusks, and who evidently regarded the soldier with great contempt, said to him:
'He would have been there long since—only he knows too much.'
'Ma voi! that's the reason you're draining him vor a Vrench gavalry gombany. Vell, I likes dat.'
'Oh! no,' said the keeper, 'his principles an't going to allow him to enter our army.'
'Vell, what are his brincibles?'
'To serve those who pay best!' quoth the Frenchman, who, in the firm faith that he had said a good thing, called Pierre to help him adorn the lion, and turned his back on the Swiss, who, in revenge, amused himself feeding the monkeys with an old button, a stump of a cigar, and various wads of paper.
The keeper then gave the lion a narcotic, and after this medicine, combed out his mane and tail, waxed his mustache, and thus made his toilette for the day. The tiger and leopards had their stripes and spots touched up once a week with hair-dye, and as this was not the day appointed, Caper missed this part of the exhibition. The hyenas submitted to be brushed down; but showed strong symptoms of mutiny at having their teeth rubbed with a toothbrush and their nails pared.
In half an hour more, the keeper's labors were over, and Caper, giving him a present for his inviting him to assist as spectator at la toilette bien béte, or beastly dressing, walked off to breakfast, evidently thinking that Art was not dead in that menagerie, whatever Rocjean might say of its state of health in the world at large.
'To think,' soliloquized Caper, 'to think of what a bootless thing it is, to shoe-black o'er an elephant!'
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,