A pretty model, two rival art students (her father's pupils) in love with her, a situation not at all surprising considering how alluring she looks in the garb of a nun, posing for their canvas. One of the young men, Edouard, is of comfortable circumstances, while Jean is a struggler in the clutches of want. But as Georgette watches them paint she observes that Jean is not even casting a glance at his model, but the ecstatic expression on his face shows that pure inspiration guides his brush. When at last the artists have finished their tasks, Edouard is so aggravated by the superiority of his rival's canvas that he seizes an opportunity, when alone, to mutilate the painting with a knife, cutting and ripping it beyond restoration. Great is the sorrow of Jean when he discovers it, and Georgette is sympathetically embracing him when her father discovers them. In anger he orders his pupil from the house. Joan sorrowfully goes to his attic room and hanging a rosary Georgette has given him on one corner of his easel, he proceeds to paint her with the headpiece for incentive. He finishes his task, and a marvelous work it is. With a loving caress of the easel, he saunters out into the fresh air. While he is gone the villainous Edouard enters, ostensibly to visit Jean. To his astonished gaze is revealed the actual painting. He quickly realizes the significance of the fact that no model posed for it; choking with rage, hatred, jealousy, the emotions render him almost insane. He draws a knife, cuts the canvas from its frame, and takes it away with him. Poor Jean soon returns, and imagine his pain when he discovers what has occurred. But suddenly the divine inspiration that has given the world its Rembrandt, its Angelo and its Chopin seizes his soul, and with the rosary before his enraptured eyes, he draws his brush over his canvas again. It is the hand of the master, and soon we see an even more beautiful likeness of Georgette as a nun. And as he sits there, lost in contemplation, the marvelous eyes of the figure playing havoc with his aesthetic self, the door slowly opens and in steps Georgette. The surprise of both is unspeakable, his at her presence, hers at the wonderful painting, done without a model. She understands and asks him to bring the painting to her home. A wealthy art collector has been asked by Georgette's father to inspect Edouard's painting, and we now see a party in the studio of the home. The curtain is raised and the connoisseur is examining it when Georgette steps forward and unfolds the story of Edouard's ignoble deeds. Aye, from under his own picture on the same easel she takes the mutilated work of Jean, and finally leads Jean himself from concealment. Modestly he acknowledges his last painting while Georgette tells how it was done; the collector buys the painting and Jean gets, well, he gets Georgette!