New-York tribune., 1911-04-02
on knock dlscreetly on the do

of your friend Pierre's studio
and arc conscious Of scrutiniZ-
..r owe at the peephole Of inspection.
,-cv studios in the Latin Quarter but
arc equipped with this strategic post OF
observation, as were the strongholds of
old The mysteries Of art arc not to be
lightly approached by the uninitiated,
the less so when the high priestoss Of the
cult is on the models throne"
The key turns in the lock. at is thou,
mon vieuX? Enter" cries your friend
You push open the door and nearly fall
over heap on the floor. "Prcnez garde.
monsieur" calls out a laughing voice at
your feet. You apologize and disentan-
sic yourself.
u is Fifine, reclining on an Easter rug,
clad in draperies that suggest n new
dancing stunt. posing as an Egyptian
lotus cater. Pierre is rushing like mad
on his picture. which he declares has just
been bought by millionaire Peruvian"
You watch his fevered brushings, but
I'm a few minutes he throws down his
tools Of trade impatiently.
The light has gone, Fifne, my little
one, hurry and dress; we win go to the
,sf6. Mon Dieu. but / have worked like
q slave
"Bien." and. jumping up Fifine darts
behind the tall screen at the further end
cf the studio. over which she tosses an
animated lot of talk. punctuated by the
frou-frou Of feminine garments. Fifne
may pose all day garbed only in gauze
veil. but when the social amenities begin
II is another matter. When she emerges
from behind the screen she is fully
clothed. with that inborn chic of the
Partisan TO whom dress represents the
highest form of art. no matter what may
De her environment.
You 90 10 one Of the most popular
cafes of the Montparnasse quarter"
q haunt Of tho artistic fraternity into
which the studios round about are
tmptying themselves. 1t is the hour Of
the aperitif: a Frenchman will have his
appetizer before dinner even if he must
50 without dinner. Pierre orders two
Amer Picon." that insidOus varnish
drink. rival to the deadly absinthe:
YOU command your own drink-there is
no treating" in the Latin Quarter, cx-
ccpt whore the lady is concerned.
THE MODELS RARELY SMOKE.
Pierre challenges you to game Of
backgammon. while he smokes. one
after another the cheap, evilsmelling
cigarettes Of France. But not Fiiine
Rarely are even the little models to be
seen smoking in public. Above all
things is the French woman feminine.
even down TO the dregs of life and
Fifne is far from the dregs; in her
world she holds a respected position
and considers herself a fortunate girl
Your friend Pierre is true type of
the French artist. He comes to Paris.
The painters paradise, with the Peri
always at the gates. to batter at those
portals OF fame the doors Of the salons.
If he has few hundred francs a year
he is lucky. Life to most of his illl
means rigid economy. The most emo
tionaI and at the same time practical
of creatures. domesticty of some kind
the Frenchman must have.
zone cannot paint without ramoUr."
IS the slogan Of the Quarter Latin:
neither can one paint without models;
moreover. who will see that his ex-
penditures bring in adequate returns?
The Frenchman I'm his widest moments
IS no plunger-if his instincts are not
against IT his pocketbook usually is.
Thus he turns to the little model
always chirpy and gay, 'who under
stands none better the vagares Of the
artistic temperament. Fihne takes this
fmpressionable and practical young man
in hand; she studies his needs. his
moods and a Collage" rs ii is known
IN the world Of art is formed. common
enough between artist and model. Thus
the question Of art and household econo-
mics is adjusted. So from coming oc-
oasionallv Fihne comes to live in the
hig studio and runs things. Does she
waste his small patrimony in riotous
living? Not she, IT is the execution
when the Fihnes are not faithful TO
their utmost. "They watch out for your
interests apologetically explains the
American imitator Of French custoros
They DO.
Fiflne knows that Pierres intorosts
are her own. She cooks, she scrubs she
goes TO market and bargains til sbc
gets the worth OF every sou. She sews
and mends, and likely enough makes tho !
dresses and trims the hats in which she
poses for Pierre. The CONCIERGE calls
her madame" and the femme do
ntnaee. II their circumstances arc ar-
fluent enough to admit Of a servant
treats her with respect for she knows |
that no Sinking Of work nor surrenti- |
tous 'pckings' will escape her keen /
oyo.
A REAL CoMRADE FOR HIM
Pierre, on his part, gives her his cono-
dence and his pocketbook. She supplles
the feminine social clement. Together
they take their amusements at the cafes.
at the little cheap restaurants when
finances are at a low ebb, at the moro
costly "tavernes' when there is a boom