In the first quarter of the 19th century, "grisette" also came to refer more specifically to the independent young women, often working as seamstresses or milliner's assistants, who frequented bohemian artistic and cultural venues in Paris. They formed relationships with artists and poets more committed than prostitution but less so than a mistress. Many grisettes worked as artist's models, often providing sexual favours to the artists in addition to posing for them. During the time of King Louis-Philippe, they came to dominate the bohemian modelling scene. Although the grisette models were perceived to be adventurous, independent, and living only for moment, they sought not only economic support but also emotional and artistic support in their relationships with bohemian men. Jenny, whose story is recounted by Jules Janin in his essay "La Grisette", is a prototypical grisette in this sense, initially choosing to model only for artists whom she considers geniuses and declining more lucrative offers to become the lover of bourgeois or even aristocratic men. Janin considered the grisettes an integral part of the bohemian artistic scene, but viewed their sexual mores somewhat negatively and suggests that their independence was only superficial: