"H'm! . . . Yes. I have done something. And how are you getting on? Have you been painting anything?"
Yegor Savvitch dived behind the bed, and crimson in the face, extracted a canvas in a frame covered with dust and spider webs.
"See here. . . . A girl at the window after parting from her betrothed. In three sittings. Not nearly finished yet."
The picture represented Katya faintly outlined sitting at an open window, from which could be seen a garden and lilac distance. Ukleikin did not like the picture.
"H'm! . . . There is air and . . . and there is expression," he said. "There's a feeling of distance, but . . . but that bush is screaming . . . screaming horribly!"
The decanter was brought on to the scene.
Towards evening Kostyliov, also a promising beginner, an historical painter, came in to see Yegor Savvitch. He was a friend staying at the next villa, and was a man of five-and-thirty. He had long hair, and wore a blouse with a Shakespeare collar, and had a dignified manner. Seeing the vodka, he frowned, complained of his chest, but yielding to his friends' entreaties, drank a glass.
"I've thought of a subject, my friends," he began, getting drunk. "I want to paint some new . . . Herod or Clepentian, or some blackguard of that description, you understand, and to contrast with him the idea of Christianity. On the one side Rome, you understand, and on the other Christianity. . . . I want to represent the spirit, you understand? The spirit!"
And the widow downstairs shouted continually:
"Katya, give me the cucumbers! Go to Sidorov's and get some kvass, you jade!"