The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1902-09-14

For the beautiful woman fate hold'
nothing in store SO cruel as the los'
of beauty. The wizard, whether M
be of the fashioned necromancel
type or the modern Edison descr1p-
ton, who finds the spring of youth
and beauty will rival the trust million
aire in his ability to roll up wealth.
To be young and beautiful forever
is the desire, secret or expressed, o.
every woman; that this is impossible
does not make it any the less desirable
but until the famous spring is discov-
cred, Beauty must snatch at what she
can, and there are society women here
in st. Paul who have found a way tic
preserve at least a shadow of theil
loneliness, even if, alasi with them as
with others the substance must fade
and perish.
Loving their beauty as a mother he1
child, and often endowed with real
artistic sense, they willingly accept the
invitation of some artist of their ac-
quaintance to pose for him.
Society Women as Models.
And SO in the Twin Cities there are
society women of wealth and refine
to their friends sometimes, whom they
fear would smile at what they might
consider vanity. These women are not
professional models; far 'FRONT.' it, Mon
ey is no object to them, and they would
scorn to accept a dollar for their ser
vices.
Why do they pose?
Well, the artists say for many rea-
sons. Partly because if a pretty girl
can see her beauty in a way repro
duced and made immortal, the present
nent of it is preserved forever, after
the reality has long vanished it miti-
gates a little that sharp pang that
stabs Beauty when she first realizes
that her loveliness is fading yielding
to the great and invfncible conqueror
Time, so memorable and so ruthless in
his advances.
And partly also she poses for the
mere pleasure of contemplating her
own loveliness, mixed with some ar
tistic sense that makes her like to pose
for the pure pleasure of posing, much
that same feeling that inspires the act
or to love the art of mimic present
ment, only that with these women
that same sense is differently developed
and manifests itself in a dove of pos
ing, a love for the act rather than the
text of the play.
Are Not Professionals.
These are not the professional mod
eds, the TriIbys of the profession. They
pose only as what is known in art Cir
cles as costume models, or perhaps a
hand, an arm or a beautiful neck and
shoulders, but for the nude, the alto
gether," as poor Trilby expressed it,
never!
A dainty foot and ankle or even a
short petticoat showing a glimpse of
a pretty well-shaped lower limb is the
most permissible. The artists say that
there is one society woman in Mime
apolis who has the most eXquisitely
formed hands and arms an artist ever
conceived, and she often can be per-
suaded to sit for those artists with
whom she has an acquaintance. And,
strange as it is, that feeling of admira-
ton for her own beauty, purely and
simply as beauty, that induces many
of these women of the social 400 to
meet half way the artist friends desire
for sittings is quite understood by the
artist.
vanity? No, not at ALL" said one
artist when that weakness, was limited
might lie at the bottom of this desire
to see herself in paint.
Admire Themselves ArtisticaIIy.
mo, you do not understand" he said.
"g'laese women admire their own lowell
ness just as an artist does. or as you
would. Now, because it is theirs, and
they love to assume some graceful
pose from an artistic sense and be-
cause frequently they become interest
ed in tn artists work and the growth
of his picture"
''Do women who are not professional
models ever pose for me-" repeated an
other we'll known artist
Yes, certainly; women to whom it
would be an insult to offer money"
"Why?"
For many reasons. Often they are
interested in art in general; they like
studio life and have no other means of
irdulging it. They like to talk and
hear about art, and have wearied of the
emptiness of society small talk and are
entertained and interested by the con-
versation of the students, and when we
find such a lady who is a good poser
you can wager that the artist appre-
ciates it and makes every effort to see
that she is entertained and amused"
Many Real Models.
Then, ST. Paul has it's quota of real
professional models, those who do it
to earn money. But even these the art
lists divide into two classes, those who
pose for the money they can make
and those who do it for money, but
with whom this is not the chief and
only aim.
They are interested in art as art,
ana, like the society woman, love to as
sIrae some artistic pose and see the
artists conception gradually develop
to its completion upon the canvas. To
this class dollars and cents are a sec
ondary consideration and they will
Wo1k intelligently with the artist, en-
da2Voring to understand and embody
his highest ideal of his brain picture.
The great general public always finds
a fascinating mystery about the per-
soIlality of the artists model. AS they
lock at the picture they wonder If she
is really like that or has the artist
localized her. or is all the figure hers
or is she composite, and that lovely
head and face hers, but that neck and
shoulders and that figure the possess
sion of another model?
Apparently they never grow tired of
the subject, as look, for example, how
much the world at large is interested
in the perennial discussion of the real
identity of the Gibson Girl and the
1oa ,icIo NJ
Pastures Famous-Models Unknown.
The picture may become famous, but
modal is 111alrnn1nrr n thu outside