Eaton weekly Democrat. [volume] (Eaton, Ohio) 1866-1875, 1872-12-05
"A MODEL ROMANCE.

Sir, ,nsai4 DF.Johnson '.1et me show you model
.'Oh, Mr.. Ormond, am tired of this
position. I wish you could let me
have rest. Do-there's good fellow
please"
wait just five minutes, Polly, till
I've done this bit of your head. Don't
move-.iust one minute more. I'm get
ting it right now, and then we'll knock
off for bit. !"
a. The request was the request of a
model the answer was the answer of a
painter. The model reclined, in half
kneeling attitude, apparently at the
foot of a cross. Her clasped hands
were uplifted; her eyes were appraised
pathetically; her long hair streamed
down, fowingly, over neck and should
ers; a loose white sort of shirt clothed
her to the waist; below was a reddish
brown skirt, skillfully disposed as
drapery," in artful folds. The whole
attitude and expression represented
and represented well-imploring agony
combined with tender despair. The
hare arms were beautifully posed the
eyes cleaned with sublime splendor.
The painter, my friend, Frank Or
mond, A. r. Ais working with quiet
excitement at his easel. His figure is
tall he wears the vessvet coat of his
craft; he-but why describe him
Every body knows Frank Ormond. Let
that pass. ,..s
And now, reader, while painter and
model (the attitude was a trying one)
have 4 knocked off work for a little
rest, while he lights pipe and she,
yawningly, stretches her stiff and weary
limbs, let US look round US at the de-
icious litter of painters studio.
The house is old, and dates probably
from Queen Anne's days. 1t has, no
doubt, been the habitation of mobiles of
that period. You cannot see much of
the walls, but look at the doors, at the
marble mantelpiece. Look at the deep
window places and tall, thickly-sashed
windows. It is house which Hogarth
might have used for the residence of
Lord Squander6eld.
The studio is a large, three-windowed
room, cold and bare of aspect. The
backs of canvases framed with deal slie
about like bits of scenes out of use, and
suggest somewhat the coulisses of a
theater. A lay figure, with wooden
fxedness of aspect, its head reminding
one of q ships sfgurehead, sits in a
renaissance chair, and wears thir-
teenth-century costume. This figure
forms the principal still-life object in
the room. In one corner reposes the
major part of an old suit of armor, the
dull and inted breaet plate surmount-
ed, in rather drunken way, by a rust
red helmet. A belt-hilted rapier, temp.
Elizabeth, which, says Frank, might
have belonged to Raleigh, leans against
thewall, and near it is small-sword
which suggests the tea-cup times of
Anne, the flowing wig and stiff skirts,
the figure of Addison, or the brawling
Mohocks who stopped Swift's chair
From the open door of a richly carved
dark amoire depends a Japanese robe
Plaster casts of feet and hands, busts
masks and torso, with the muscles
strongly accented by dust, are sprin-
kled about, and contrast chalkily witt
the color Of hangings, bits of silk dress
es, and remnant of tapestry. Two ole
foils, one broken, and both grievousl!
damaged, lie across the arms of a mag
nifcent antique chair, which has a sea
of crimson velvet, on which rest Span
ish mandolin and one boxing glove
while strip of yellow Chinese silk ha
slipped down on the floor. A stuffet
monkey, with perennially diabolica
smile upon swollen visage. balance
uneasily upon legs with a padded lool
about them, while stuffed owl stare