During the years of the Great War Jakopič was burdened by a mortgage on his gallery he could not pay in regular instalments as the exhibition programme came to a standstill and the art market collapsed. This crisis and the living conditions in the hinterland of the Isonzo frontline impaired his creativity. This crisis of creativity was reflected in the painstaking execution of the great Sower for the Municipality of Ljubljana. However, according to family lore he executed The Green Veil abruptly. The subject originated in the intimate family context and cannot be seen simply as a portrait. The model was his niece Anka whom he dressed up and on whose head he placed a silver tiara. Thus Jakopič preferred to call the painting Girl with a Crown. In the family lore a third title existed − Queen Esther. The return to salon painting, as Tomaž Brejc has described it, should be seen also in relation to St. Mark’s Gospel I/8. The reference to the biblical heroine, although Podbevšek attributed it to the painter’s wife, gives the subject an allegorical dimension. The painter’s identification with Mordechai gives it its intimate dimension while its social relevance touched upon the yearning for salvation from the threat of occupation augured by the distant gunfire at the Isonzo Front.