It was the artist’s intention to take no pupils but young ladies belonging to rich families of good position, in order to meet with no complaints as to the composition of his classes. He even refused to take girls who wished to become artists; for to them he would have been obliged to give certain instructions without which no talent could advance in the profession. Little by little his prudence and the ability with which he initiated his pupils into his art, the certainty each mother felt that her daughter was in company with none but well-bred young girls, and the fact of the artist’s marriage, gave him an excellent reputation as a teacher in society. When a young girl wished to learn to draw, and her mother asked advice of her friends, the answer was, invariably: “Send her to Servin’s.” 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.