Evening star., 1896-10-31

classes. About three-fourths were young
men and girls who, neither knowing any
thing of nor caring anything for art in
ITSELF thought that it would be a tremen-
dous lark to join the school. Their knowl-
edge of painting consisted in what they had
read in novels and newspapers Of Joyous
and hilarious scenes in studos-cochineal
baths of cheap red wine, chafing dishes,
and that sort of thing-and they were all
ready to assist in the establishment of a
miniature Quarter Latin in Washington
Quarter Latin after their own concep-
ton. 1t was the simplest of all matters
to single out these faddists and dilletante
and to dispose of them. ENCOURAGEMENT
was given only to those who presented
themselves with an intelligent realization
OF the difficulties of the path they were
blocking out for themselves, and with an
evident determination to stick to It,"
Conditions of Entrance.
During the first years of the school no
other qualifications besides sincerity of pur-
pose and industry were required of those
who wished to become pupils. It was
eventually found. however, that the task
or carrying on the purely kindergarten
work was too large an undertaking, and
prevented a proper degree of attention
Delng given to the more advanced students
1t thus became necessary to make adInis-
sion to the school conditional upon a GER
,a tam modlcum of previous attainment in
school was then divided into three classes
the antique class. the life class and the
composition class. In order to gain ad-
mission to the antique class the annlicn NJ
must submit to Prof Andrews at Least fn,,r
drawings, showing complete mastery in the
handling of material (crayon or charcoaD
and experience and skill in free-hand draw
ing. Tine work of the ANTIQUE class con-
sists of drawing from the ANTIQUE busts
fuli-length figures, anatomical figures, pro-
poruon and perspective, with elaborate
study OF values and light and shade.
Admission to the life class Is accorded
TO those who pass strict examination up-
on the work required in the antique class
or to those who demonstrate an adequate
proficiency by previous work done from ma
ture, either drawing or painting To be-
come member of the composition class
the applicant must present drawings show
Ing facility for drawing the human figure
without model. and ability to draw the
figure in repCse and in action, with suffi-
cient skill TO indicate the motive and 10
illustrate the az plicant's idea.
The Night Class.
There are not many young men in the
day classes, for a great majority of the
male students are wage-earners who are
unable to get away from their offices and
places of business during the hours of the
day. For these Prof. Andrews organized
night class q few years ago. The night
class does not begin Its work until the first
week In November of each year. the day
classes beginning their studies a month
earlier. Young women are permitted to
join the night as well as the day class but
few OF them take advantage Of the privi-
lege.
1t would be hard to find quieter or busi-
er aSsemblage OF young women than those
who attend the day classes at the schools
Even a heavy foot fall is startling enough
within the intensely silent precincts Of the
curtain divided class rooms to cause the
hafr Tn,
the antique class room the plaster casts Of
heads of Hermes, arms of Hercules, feet
OF Achilles and busts of Venus are ranged
around the four walls, and the absolute
absorption Of the students in reproducing
these upon their frames of drawing paper
Is an interesting study in intentness. Prof
Andrews quietly steps from easel to easel,
mildly criticising here and bestowing
word of praise there, occasionally adding
or erasins a line of a drawing, telling of
deficiency or misconceptions In q low tone
Of voice, and always good-humoredly.
Whatever conversation Is carried on by
the students is in n subdued tone of voice,
and there is none Of the rataplan and fan
faronade which. in the imaginations of
Paris correspondents, Is a necessary ac-
compartment of the study of painting.
Loud talking is expressly forbidden, and
giggling is a thing unknown at the school.
The students have rolled up their sleeves
estness as though their livelihood depended
upon their efforts and no time Is wasted.
Drawing From Life.
The entire second floor of the school
building is set aside for the work Of the life
class. The morning class paints from the
nude and the afternoon class from the
draped figure. In painting from the nude
model, there Is no mixture Of the sexes
among students. as Is the custom In many
of the schools Of Paris, and even in some of
those in New York. The young men and
women draw and paint from the nude at
different hours
There are about a dozen flrst-class and
wellknown nude models. male and fe-
male. in Washington. who earn livelihood
entirely by posing for artists and students
in schools and private studios. These
models are for the most part quite un-
known to the students. They come and go
quietly, saying little or nothing and they
work hard for the fifty or seventy-five
cents an hour which is paid to them, ac-
cording to their varying degrees Of exper-
ience, reliability and usefulness. Curiously
enough. the models prefer to pose for stu
dents In school than for a single artist in
his studio.
The reluctance which most models at
first experience in enduring the critical in
IN nf - T.