Original<\/a><\/p>ROM the roof-tops of our own and the neighbouring houses we have altogether many opportunities of sketching, and making studies from life. * By degrees, by fits and starts, and by most uncertain means (such as attracting curiosity, making little presents, &c.) we manage to scrape up a distant talking acquaintance with some of the mysterious wayward creatures we have spoken of, and in short, to become almost 'neighbourly.'<\/p>
* In the Exhibition of the Royal Academy of 1867, there was a picture by Alfred Elmore, R.A., taken almost from this spot.<\/p>
But we never get much nearer than talking distance, conversing from one roof to another with a narrow street like a river flowing between us; and only once or twice during our winter sojourn, did we succeed in enticing a veiled houri to venture on our terrace and shake hands with the 'Frank.' If we could manage to hold a young lady in conversation, and exhibit sufficient admiration of her to induce her, ever so slightly, to unveil whilst we made a hasty sketch, it was about all that we could fairly succeed in accomplishing, and 'the game was hardly worth the candle:' it took, perhaps, an hour to ensnare our bird, and in ten minutes or less, she would be again on the wing. Veiled beauties are interesting (sometimes much more interesting for being veiled); but it does not serve our artistic purposes much to see two splendid black eyes and a few white robes.<\/p>
However models we must have, although the profession is almost unknown in Algiers. At Naples we have only to go down to the seashore, at Rome to the steps of St. Peter's, and we find 'subjects' enough, who will come<\/p>
for the asking; but here, where there is so much distinctive costume and variety of race, French artists seem to make little use of their opportunities.<\/p>
It takes some days before we can hear of any one who will be willing to sit, for double the usual remuneration. But they come at last, and when it gets abroad that the Franks have money and 'mean business,' we have a number of applicants, some of whom are not very desirable, and none particularly attractive.<\/p>
We select 'Fatima' first, because she is the youngest and has the best costume, and also because she comes with her father and appears tractable. She is engaged at two francs an hour, which she considers poor pay.<\/p><\/div><\/div>","pageStriped":"CHAPTER IV. 'MODELS.'OriginalROM the roof-tops of our own and the neighbouring houses we have altogether many opportunities of sketching, and making studies from life. * By degrees, by fits and starts, and by most uncertain means (such as attracting curiosity, making little presents, &c.) we manage to scrape up a distant talking acquaintance with some of the mysterious wayward creatures we have spoken of, and in short, to become almost 'neighbourly.'* In the Exhibition of the Royal Academy of 1867, there was a picture by Alfred Elmore, R.A., taken almost from this spot.But we never get much nearer than talking distance, conversing from one roof to another with a narrow street like a river flowing between us; and only once or twice during our winter sojourn, did we succeed in enticing a veiled houri to venture on our terrace and shake hands with the 'Frank.' If we could manage to hold a young lady in conversation, and exhibit sufficient admiration of her to induce her, ever so slightly, to unveil whilst we made a hasty sketch, it was about all that we could fairly succeed in accomplishing, and 'the game was hardly worth the candle:' it took, perhaps, an hour to ensnare our bird, and in ten minutes or less, she would be again on the wing. Veiled beauties are interesting (sometimes much more interesting for being veiled); but it does not serve our artistic purposes much to see two splendid black eyes and a few white robes.However models we must have, although the profession is almost unknown in Algiers. At Naples we have only to go down to the seashore, at Rome to the steps of St. Peter's, and we find 'subjects' enough, who will comefor the asking; but here, where there is so much distinctive costume and variety of race, French artists seem to make little use of their opportunities.It takes some days before we can hear of any one who will be willing to sit, for double the usual remuneration. But they come at last, and when it gets abroad that the Franks have money and 'mean business,' we have a number of applicants, some of whom are not very desirable, and none particularly attractive.We select 'Fatima' first, because she is the youngest and has the best costume, and also because she comes with her father and appears tractable. She is engaged at two francs an hour, which she considers poor pay.","bookAudios": [],"status": true,"statusCode": 200,"errormessage": "Records Fetched"}