After his return from the ateliers of Paris, Seymour divided his time between the apotheosis of rags and squalor and the delineation of the features of the New York banker, broker, or insurance president, with an occasional excursion into the field of female portraiture, which was opened to him through the large and influential circle of friends and acquaintances of his family. His efforts in this direction frequently resulted in popular and artistic success, and after a season or two gained for him a profitable and exceedingly agreeable line of sitters. A strange jumble of millionaires, bootblacks, society ladies, and beggar-women covered the canvases that encumbered his studio. The portraits went away in their turn, but the pictures, after brief absences at exhibitions, remained his own property, testifying to the practical worthlessness of the encouragement of his comrades, who would sniff at his portraits of ladies and gentlemen, and prostrate themselves before his studies of gutter-snipe. It must be understood that no one of his artistic clique disapproved of his painting society portraits, for they had all adopted some means of gaining a livelihood outside of the special line of art which they, in their mistaken zeal, believed to be the only true and worthy one. Most of his comrades taught in the art schools of the city; some of the more fortunate ones conducted highly profitable private classes, where, at an enormously extravagant price per season, they actively stimulated and encouraged the artistic illusions of wealthy young ladies, and helped them to acquire a superficial and dangerous facility, which, for a future mistress of a house, is the most useless accomplishment imaginable. Seymour was of an energetic and enterprising turn of mind, and if it had not been for his unwavering devotion to his artistic creed, he would have speedily made a wide reputation for himself as a painter with an original and charming talent. But accident of situation had exposed him to the contagion of realism, and the fever which seized him in Paris was now kept alive, in a milder form to be sure, by association with the young painters in New York, who had been abroad the same time as himself. After two seasons at home he found his studio too small and inconvenient, and he turned a stable in the spacious back yard of his father’s house, on one of the cross streets near Fifth Avenue, into a fine studio, with a side and top light, and transported thither his easels, his bric-à-brac, and the lares and penates of his Bohemian quarters. The new studio was entered by a _porte-cochère_ at one side of the house, and was therefore as isolated and private as if it stood in the centre of an acre of ground.