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Servin became, therefore, for feminine art, a specialty; like Herbault for bonnets, Leroy for gowns, and Chevet for eatables. It was recognized that a young woman who had taken lessons from Servin was capable of judging the paintings of the Musee conclusively, of making a striking portrait, copying an ancient master, or painting a genre picture. The artist thus sufficed for the educational needs of the aristocracy. But in spite of these relations with the best families in Paris, he was independent and patriotic, and he maintained among them that easy, brilliant, half-ironical tone, and that freedom of judgment which characterize painters.

He had carried his scrupulous precaution into the arrangements of the locality where his pupils studied. The entrance to the attic above his apartments was walled up. To reach this retreat, as sacred as a harem, it was necessary to go up a small spiral staircase made within his own rooms. The studio, occupying nearly the whole attic floor under the roof, presented to the eye those vast proportions which surprise inquirers when, after attaining sixty feet above the ground-floor, they expect to find an artist squeezed into a gutter.

This gallery, so to speak, was profusely lighted from above, through enormous panes of glass furnished with those green linen shades by means of which all artists arrange the light. A quantity of caricatures, heads drawn at a stroke, either in color or with the point of a knife, on walls painted in a dark gray, proved that, barring a difference in expression, the most distinguished young girls have as much fun and folly in their minds as men. A small stove with a large pipe, which described a fearful zigzag before it reached the upper regions of the roof, was the necessary and infallible ornament of the room. A shelf ran round the walls, on which were models in plaster, heterogeneously placed, most of them covered with gray dust. Here and there, above this shelf, a head of Niobe, hanging to a nail, presented her pose of woe; a Venus smiled; a hand thrust itself forward like that of a pauper asking alms; a few “ecorches,” yellowed by smoke, looked like limbs snatched over-night from a graveyard; besides these objects, pictures, drawings, lay figures, frames without paintings, and paintings without frames gave to this irregular apartment that studio physiognomy which is distinguished for its singular jumble of ornament and bareness, poverty and riches, care and neglect. The vast receptacle of an “atelier,” where all seems small, even man, has something of the air of an Opera “coulisse”; here lie ancient garments, gilded armor, fragments of stuffs, machinery. And yet there is something mysteriously grand, like thought, in it; genius and death are there; Diana and Apollo beside a skull or skeleton, beauty and destruction, poesy and reality, colors glowing in the shadows, often a whole drama, motionless and silent. Strange symbol of an artist’s head!

At the moment when this history begins, a brilliant July sun was illuminating the studio, and two rays striking athwart it lengthwise, traced diaphanous gold lines in which the dust was shimmering. A dozen easels raised their sharp points like masts in a port. Several young girls were animating the scene by the variety of their expressions, their attitudes, and the differences in their toilets. The strong shadows cast by the green serge curtains, arranged according to the needs of each easel, produced a multitude of contrasts, and the piquant effects of light and shade. This group was the prettiest of all the pictures in the studio.

A fair young girl, very simply dressed, sat at some distance from her companions, working bravely and seeming to be in dread of some mishap. No one looked at her, or spoke to her; she was much the prettiest, the most modest, and, apparently, the least rich among them. Two principal groups, distinctly separated from each other, showed the presence of two sets or cliques, two minds even here, in this studio, where one might suppose that rank and fortune would be forgotten.