Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1871-06-08
NO. 1875.

trying burlesque pas which she had seen
on the previous evening at the theatre.
''There, Mr.. Ormond, I'm rested now.
On we 60 again!n
The little model interested me, both in
her individuafsm and as member of a
class which furnishes to the artist the ma
tcrialism of the romantic. tried to learn
something of her history, but l succeeded
only sketchily and in apiecemeal manner.
Her name was Polly Brown. She was
distinctly pretty and piquante. She pos
sessed among her various merits as a
model,very long and beautiful brown hair,
which she knew how to dishevel and tum-
bic down far below her waist in flow of
romantic distress. Her eyes, brown also,
were large and full of soft fire; and the
little monkey had trick of rendering
them plaintive and pathetic in expression,
SO that she was particularly valuable as Il
model for young heroines in distress, viz
gin-martyrs, betrayed beauties, and the
like. Her complexion was that of a light
brunette had she lived more in the coun-
try, her cheeks would, it is probable, have
shown a little flush of tender red through
the pale, soft olive of her teint She had
nice little nose; the mouth was good,
though perhaps little large, but she knew
ners down so as partially to conceal this
little defect. The shape of the little half
arch. halt-tender face was fine oval,a
the head was remarkably well set on. She
was good in profile, but better as three
quarter face with upturned eyes. Her
hands and feet were small, and the figure,
though a trihe petite, was round and well
shaped. Her manner was always merry,
but never boisterous, and the girl had in
nate tact and taste.
YES" observed Frank, critically, ''she
is a first rate model in her line. tits only
when you see good deal of her that you
detect the least little trihe of vulgarity,
which comes. no doubt from her mother.
Do you know | rather like that little sus-
picion of plebeianism; it shows that her
base touches the people. She is good, you
know, for historical heroines. She is, in
fact, fit for what actors call the juvenile
tragedy line of business. Do you remem-
Der my Olivia in the Vicar of Wakefield?
Well, she sat, and did splendidly, for that
She's always punctual and pleasant to deal
with; she's lively and frisky but never
rude, and she's really a good little girl.
Out of all the models know she's about
the best. like little Polly; if you want
to please her you've only got to send her to
the play"
The little model had considerable imi-
tative and dramatic talent, and readily
picked up the trick of her trade. She
quickly caught painters idea. and pro-
duced the expression, or caught the atti-
tude, which his purpose required. She
had a little feminine voice, almost as ex-
quisitely dainty as Marie Wilton's, and
had conquered that difficulty, so great to
one of her class, of good pronunciation.
Polly,s mother was housekeeper in set
of chambers. She had been on the stage
in her youth, and retained strong passion
for the theatre. OF her father | could
learn nothing. Polly herself, in her early
girlhood, had been theatrical. She dane
ed as "a fairy in pantomimes, and formed
one OF "a child-group of peasants, or what
not as required by the ballet-master; bat
to her great disappointment, she never
could obtain a speaking part" One
winter severe illness threw her out OF
her usual employment. When she re-
covered she found no opening in the theatre
and she was for a short time, driven to
resort to sewing. She was then engaged
i'll the extensive and prosperous out-titting
establishment of Messrs. Abednego and
Melchisedek; but this miserably-paid
druagery did not long suit Miss Polly. She
was unhappy, and grew desperate, or
rather determined. Sanguine in her
youthful hopefulness, she suddenly dis
charged herslf, and trusted to the chapter
of accidents. One day when very poor
Polly stroled into the Park. Sitting down
upon bench, still and quiet as an Arctic
winter night, she thought and thought
what she could do, what she should do, to
earn her living. 1t was eally spring. the
painters We're hard at work for the Acade-
my and good models were scarce. Frank
Ormond happened to be passing by. He
wanted girl-model, and his painters eye
was struck by little Polly's face and figure.
He spoke to her and proposed that she
should come and sit to him. Polly con-
sented, and went the next morning to his
studio. She had found new trade, which
she rather liked, and which, as she gradu-
ally acquired a connection among painters,
paid her moderately well. She grew at
tached to the free and easy Bohemian ways
of the studio, and was soon launched as
well known and popular model" in
which capacity, while sitting for Joan of
Arc, first made her acquaintance. Polly,
by the way, always had a superstition
about the Park, and believed that it was a
pi.teV WhiNh ptouSut Hcl Roou luck. II
first met you, Mr.. Ormond, in the park"
she used at times to say. land am sure
that some day some great good fortune
will happen to me in that dear old park
| often sit upon that bench where you first
saw me. All. Twas badly off then!'
The life of model is not without perils
and temptations to young girl; but Polly
trod safely her rather dangerous path with
a firm, light step. Her innocence was not
ignorance; for she saw and heard great
deal, and understood all that she saw or
heard. Without protectors or advisers.
lonely but self-reliant, the girl walked along
the edge of the unfenced prccipice circum-
specify and shrewdly She was ardent,
and perhaps ambitious, but had certain
integrity of will and quiet force Of charac-
ter which held her upright. Very uncon-
sciously, the little lowly thing was q sort
of worldly heroine.
Natural character, and the influences of
the circumstances which surrounded and
moulded it, produced some rather complex
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