Skirting the fonda wall I found a corner which seemed secluded, and sitting down I began to paint an old woman and her fruit stall. One by one a few people gathered behind me. Blas, the gipsy musician, came up, greeted me, and added his solid presence to the spectators. A baker came out of his shop and watched. The crowd began to increase. Soon they were pressing all round, even in front, so that I could see nothing.
"I cannot paint if I cannot see," I exclaimed to Blas.
He and the baker set themselves one on each side and hustled an opening in the crowd.
"Atras, atras!" they shouted. "En la cola, en la cola."[8]
But more and more people hurried up to see what was happening. Soon the crowd, despite the strenuous efforts of Blas and the baker, closed up again in front, and no efforts could keep an open vista.
Jan, who had been drawing in another part of the market, came up. He saw in the midst of a maelstrom of heads the extreme tip of my hat and worked his way through, to speaking distance. Brown-faced old women, with market baskets, men with turkeys hung in braces over their shoulders, young women with babies, gipsy men with tall hats and gig-whips, noisy boys, all smiling, friendly and curious, were peeping under my hat discussing the phenomenon.
We left the disappointed maelstrom, which changed its shape and followed us like a rivulet to a café, where they stood for a while gazing solemnly while we sipped iced coffee.
We then decided that sketching in the streets of Murcia was not to be thought of. Luis, to whom we confided this, said that he would find us balconies and roofs from which we could work, but we wanted to settle in some small village where we could know everybody in a day, and sketch where we liked, so Luis made arrangements to take us across the plain at the foot of the mountains to see some villages that might suit us