Paul's comments about the unique look of her new studio, pleased Renee. In the early weeks of the building's renovation, some of her first ideas for decor changed quite dramatically. The classic architecture of the building and its prominent location in the center of town set it apart from the other shops, most of which had the expected look of Provence. With the discovery of the lovely old painted ceilings, Renee made a decision to forego the popular Country French style and incorporate a bit of "an old world" look to the interior of her studio, especially the reception salon. Upstairs, her work room had a bit of everything, from her contemporary Parsons table (from her San Francisco apartment) which served as her desk, to the old refectory table which took center stage in her crowded workroom. The decision to carry the ceiling colors throughout was a good one. The many large windows made the interior very visible from the street, so the unified look of the colors inside and out was very pleasing. Sophie liked the idea of giving the studio an "old world look" instead of the much copied look of Provence. It probably wouldn't attract as many tourists, however. That wasn't to be Renee's focus anyway.

Later.

The grand opening was a success and in the days and weeks to follow Renee couldn't believe how many people came in to look, some of whom even became serious clients. The foursome was delighted. As the first weeks of excitement came to an end, Philippe returned to his writing and Louis went back to the island to begin a new venture himself. The owner of a new hotel in a suburb of Paris, saw his work at the studio, liked it and commissioned him to do a series of paintings for the lobby and meeting rooms of the hotel. Despite the commercial overtones, Louis was enthusiastic.

Sophie spent quite a bit of time at the studio, alternating with the young woman Renee had engaged to staff the reception desk. She loved it! Her research project finally turned up some answers to Renee's many questions about the studio's origin. Sophie found a packet of letters that had been received by an ancestor of her late husband Claude that were dated from 1762 to 1765. She had found nothing in the Chateau's library, but in a chest in one of the bedrooms, found a small leather covered box containing a few letters and two small gold bracelets.

The letters were from a woman in Florence, Italy, most likely a relative or a friend of the family. In one of the letters the woman shared her sadness over the death of the twelve year old daughter of her cousin. The parents and the young girl were going to leave Florence and move to France, the father's birth country. He had acquired a large parcel of land in Provence upon which he would build a wonderful Chateau, or villa, as his Italian wife called it. Unfortunately, on their last visit to France, the little girl had been thrown from a horse and was killed instantly. The heart broken parents went back to Italy, never to return to Provence.

The property eventually became the site for a little town. The building which was now Renee's studio had been created by the father as a surprise for his young daughter. It was to have been a two story open pavilion where the little girl could entertain her young friends. The father had engaged an itinerant artist to paint the ceilings. The little structure had actually been designed by the Italian mother, which explained the unusual architecture and was almost ready at the time of the little girl's accident. The little pavilion was to have been surrounded by a lovely garden and was situated several yards from the Chateau. The Chateau had hardly been started and was abandoned.