Gerald Serval, sculptor by profession, is in despair. He is engaged upon the figure of a female bather, and his work is at a standstill for lack of a fitting model. Only a few days remain before the last day of sending it in to the Academy, and the triumph the sculptor hoped to secure seems drifting from his reach. A friend calls upon him and Gerald enlarges upon his difficulty. His friend has the card of two models named Frascola, father and daughter, in his pocket and Gerald, as a last resource, seeks them out. To his boundless delight he finds in Leah, the daughter, a young girl, graceful as a fawn, the perfect model for his work and the sitting commences. As the indistinct outlines of the rough, unfinished statue take shape and form beneath the strong and supple fingers of the sculptor, so the first feeling of interest that the man feels in his model ripens into a warmer sentiment, half unconsciously returned by Leah. The completion of the statue and the approach of the hour for parting is the signal for a full confession of love. Leah abandons her old father, a true type of the sturdy Italian, and is scarcely awakened from her dream of bliss by an angry scene between the two men. Four months later, Gerald's work has been accepted as the triumph of the year at the Academy, and he and Leah receive the congratulations of their friends as they wander through the crowded rooms, hemmed in by a fashionable throng. Mingling in the crowd, too, is Frascola, and as he approaches the statue a feverish energy marks his movements. Suddenly, before the bystanders can arrest his band, he has raised a mallet, struck the statue from its pedestal, and with heavy blows destroyed forever the work of the man who has blighted his life.