"What a curious place!" She wandered about, inspecting the drums of plaster, clay and plasticene, the racks of tools, the stands, the stones, the chisels, the forge, the kiln, the lumber, the glaze bench.
"I like this," she said determinedly, picking up a figure a half-meter tall, a Venus he had cast in bronze while studying under Labuerre some years ago. "How much is it?"
An honest answer would scare her off, and there was no chance in the world that she'd buy. "I hardly ever put my things up for sale," he told her lightly. "That was just a little study. I do work on commission only nowadays."
Her eyes flicked about the dingy room, seeming to take in its scaling plaster and warped floor and see through the wall to the abandoned slum in which it was set. There was amusement in her glance.
I am not being honest, she thinks. She thinks that is funny. Very well, I will be honest. "Six hundred dollars," he said flatly.
The girl set the figurine on its stand with a rap and said, half angry and half amused: "I don't understand it. That's more than a month's pay for me. I could get an S.P.G. statuette just as pretty as this for ten dollars. Who do you artists think you are, anyway?"
Halvorsen debated with himself about what he could say in reply:
An S.P.G. operator spends a week learning his skill and I spend a lifetime learning mine.
An S.P.G. operator makes a mechanical copy of a human form distorted by formulae mechanically arrived at from psychotests of population samples. I take full responsibility for my work; it is mine, though I use what I see fit from Egypt, Greece, Rome, the Middle Ages, the Renaissance, the Augustan and Romantic and Modern Eras.