"Take the three. I'll send them home at once. Where does your honour live? Boy, a cord!"
"Not so fast, my friend," cried the artist, startled from his reverie, and perceiving the brisk dealer about to tie up the three daubs. His first impulse was to walk away, but he felt ashamed to purchase nothing after standing so long before the shop, and causing the hungry-looking old salesman so large an expenditure of breath. "Wait a little," he said. "I will see if you have any thing to suit me." And, stooping down, he turned over a number of battered dusty old pictures heaped like lumber upon the ground. They were chiefly old-fashioned family portraits, likenesses of unknown and insignificant faces, with torn canvass, and frames that had lost their gilding. Nevertheless Tchartkóff carefully examined them, thinking it possible he might pick up something good. He had more than once heard stories of pictures of the great masters being met with amongst the dust and trash of such shops as this. The dealer, perceiving he had probably nailed a customer, ceased his bustling importunity, resumed his station at the door, and recommenced his appeals to the passengers. He shouted, chattered, and pointed to his wares, but without success; then he had a long chat with an old-clothesman, whose establishment was on the opposite side of the alley; and at last, recollecting that, all this time there was a customer in his shop, he turned his back upon the public and walked in.
"Have you chosen anything, sir?"
The artist stood immoveable before a large portrait, whose frame had once been richly gilt, although it now scarcely retained a few tarnished vestiges of its former splendour. The subject was an old man, his face swarthy and bronzed, with furrowed brow and hollow temples, and sharp high cheekbones; a physiognomy on which the ravages of time, and climate, and suffering were plainly legible. The figure was draped in a flowing Asiatic costume. Defaced and injured and grimed with dirt though the portrait was, yet, when Tchartkóff had wiped the dust from the countenance, he perceived evident traces of the touch of a great artist. The picture seemed to have been scarcely finished, but the force of treatment was immense. Its most extraordinary part was the eyes; in them the artist had concentrated all the power of his pencil. There was vitality in those dark and lustrous orbs, they looked out of the portrait, and in some measure destroyed its harmony by their strange and life-like expression. When Tchartkóff took the picture to the door, he fancied the pupils dilated. The peculiarity of the painting at once attracted the attention of the idlers without. Some uttered exclamations of surprise, others fell back a pace as if in terror. A pale, sickly-looking woman of the lower classes, who suddenly found herself face to face with this singular portrait, screamed with alarm. "It's looking at me!" she cried, and hurried away, casting nervous glances over her shoulder. Tchartkóff himself experienced—he could not tell why—a sort of disagreeable sensation, and he put the portrait on the ground.
"D'ye buy?" said the picture-dealer.
"How much?" replied the artist.
"At a word—three tchetvertáks."[27]
Tchartkóff shook his head. "Too much. I will give you a dougrívennoi," he added, moving towards the door.
"A dougrívennoi for that picture! You are pleased to joke, sir. The frame is worth twice the money. Bid me something more, if it be only another grivennik. Come back, sir," he shouted, running after the painter, and detaining him by his cloak-skirt; "come back, sir. You are my first customer to-day, and I will take your offer, for luck's sake. But the picture is given away."
On finding his offer thus unexpectedly accepted, Tchartkóff heartily repented his temerity in making it. The dougrívennoi he paid the dealer was his last in the world, and he was encumbered with a lumbering old portrait for which he had no earthly use. Cursing his own imprudence, he took up his purchase, and trudged away with it. Its weight and size caused it to slip perpetually from under his arm, and rendered it a most troublesome burthen. At last, tired to death and bathed in perspiration, he reached the house, in the fifteenth line of the Vasílievskü Ostrow, in which he occupied a modest lodging, ascended the uncleanly staircase, and knocked impatiently at the door of his apartment. It was opened by a slatternly lad in a blue shirt—his cook, model, colour-grinder and floor-sweeper, who had to thank his godfathers for the harmonious name of Nikíta, and who united in his person the dirt incidental to three out of his four occupations. Tchartkóff entered his ante-room, which felt very chilly, as artists' ante-rooms usually are, and, without taking off his cloak, walked on into his studio a square apartment, tolerably spacious, but low in the ceiling, and with windows dimmed by the frost. This room was littered with all kinds of artistical rubbish: fragments of plaster of Paris, casts of hands, frames, stretched canvasses, sketches begun and thrown aside, and drapery cast carelessly over the chairs. Completely knocked up, Tchartkóff let his cloak fall, placed his new purchase against the wall, and threw himself on a narrow meagre little sofa, whose leathern cover, torn upon one side from the row of brass nails that had formerly confined it, afforded Nikíta a convenient receptacle for dish-cloths, old clothes, dirty linen, and any other miscellaneous matters he thought fit to cram under. The sun had set, and the night grew each moment darker. Our artist ordered Nikíta to bring a candle.