Just as much as daylight, Jakopič was also interested in artificial sources of light. Device (The Virgins) is the first painting in which he implemented an internal source of light. Such intimate depictions draw their inspiration from the everyday, something even mundane nature of everyday life among the bourgeois population. The inside of the home was the women’s domain. Huddled around an oil lamp in the urban salon of the Czerny’s apartment in Škofja Loka sit Jakopič’s wife Ana Czerny and her three sisters, each occupied with their own task, either reading or sewing. The light radiates out in all directions, with the prevalent red tonality supposedly reminiscing of the Venetian red wall color. The fine composition with paint applied on the canvas with a knife softens the contours and, together with effects of light, makes for a shimmering atmosphere. Besides the chairs and the ovular painting on the wall, no other concrete item can be made out. The subjects are unaware of the viewer’s presence as they sit quietly, buried each in their own work. Jakopič also painted a significantly bigger canvas, from which he, for an unknown reason, cut off one of the heads. This picture is most likely prep work for a larger format, a practice the painter regularly engaged in.