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.