A roomy studio. Entrance door at the rear, left. Another door at lower left to the bed-room. At centre, a platform for the model, with a Spanish screen behind it and a Smyrna rug in front. Two easels at lower right. On the upper one is the picture of a young girl's head and shoulders. Against the other leans a reversed canvas. Below these, toward centre, an ottoman, with a tiger-skin on it. Two chairs along the left wall. In the back-ground, right, a step-ladder.

Schön sits on the foot of the ottoman, inspecting critically the picture on the further easel. Schwarz stands behind the ottoman, his palette and brushes in his hands.

SCHÖN. Do you know, I'm getting acquainted with a brand new side of the lady.

SCHÖN.

SCHWARZ. I have never painted anyone whose expression changed so continuously. I could hardly keep a single feature the same two days running.

SCHWARZ.

SCHÖN. (Pointing to the picture and observing him.) Do you find that in it?

SCHÖN.

SCHWARZ. I have done everything imaginable to call forth some sort of quiet in her mood by my conversation during the sittings.

SCHWARZ.

SCHÖN. Then I understand the difference. (Schwarz dips his brush in the oil and draws it over the features of the face.) Do you think that makes it look more like her?

SCHÖN.

SCHWARZ. We can only work with art as scientifically as possible.

SCHWARZ.

SCHÖN. Tell me—

SCHÖN.

[Page 12] SCHWARZ. (Stepping back.) The color had sunk in pretty well, too.

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