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Weary and bathed in perspiration, he dragged himself to Vasilievsky Ostroff. With difficulty and much panting he made his way up the stairs flooded with soap-suds, and adorned with the tracks of dogs and cats. To his knock there was no answer: there was no one at home. He leaned against the window, and disposed himself to wait patiently, until at last there resounded behind him the footsteps of a boy in a blue blouse, his servant, model, and colour-grinder. This boy was called Nikita, and spent all his time in the streets when his master was not at home. Nikita tried for a long time to get the key into the lock, which was quite invisible, by reason of the darkness.

Finally the door was opened. Tchartkoff entered his ante-room, which was intolerably cold, as painters’ rooms always are, which fact, however, they do not notice. Without giving Nikita his coat, he went on into his studio, a large room, but low, fitted up with all sorts of artistic rubbish–plaster hands, canvases, sketches begun and discarded, and draperies thrown over chairs. Feeling very tired, he took off his cloak, placed the portrait abstractedly between two small canvasses, and threw himself on the narrow divan. Having stretched himself out, he finally called for a light.

“There are no candles,” said Nikita.

“What, none?”

“And there were none last night,” said Nikita. The artist recollected that, in fact, there had been no candles the previous evening, and became silent. He let Nikita take his coat off, and put on his old worn dressing-gown.

“There has been a gentleman here,” said Nikita.

“Yes, he came for money, I know,” said the painter, waving his hand.

“He was not alone,” said Nikita.

“Who else was with him?”

“I don’t know, some police officer or other.”

“But why a police officer?”

“I don’t know why, but he says because your rent is not paid.”

“Well, what will come of it?”

“I don’t know what will come of it: he said, ‘If he won’t pay, why, let him leave the rooms.’ They are both coming again to-morrow.”

“Let them come,” said Tchartkoff, with indifference; and a gloomy mood took full possession of him.

Young Tchartkoff was an artist of talent, which promised great things: his work gave evidence of observation, thought, and a strong inclination to approach nearer to nature.

“Look here, my friend,” his professor said to him more than once, “you have talent; it will be a shame if you waste it: but you are impatient; you have but to be attracted by anything, to fall in love with it, you become engrossed with it, and all else goes for nothing, and you won’t even look at it. See to it that you do not become a fashionable artist. At present your colouring begins to assert itself too loudly; and your drawing is at times quite weak; you are already striving after the fashionable style, because it strikes the eye at once. Have a care! society already begins to have its attraction for you: I have seen you with a shiny hat, a foppish neckerchief. . . . It is seductive to paint fashionable little pictures and portraits for money; but talent is ruined, not developed, by that means. Be patient; think out every piece of work, discard your foppishness; let others amass money, your own will not fail you.”

The professor was partly right. Our artist sometimes wanted to enjoy himself, to play the fop, in short, to give vent to his youthful impulses in some way or other; but he could control himself withal. At times he would forget everything, when he had once taken his brush in his hand, and could not tear himself from it except as from a delightful dream. His taste perceptibly developed. He did not as yet understand all the depths of Raphael, but he was attracted by Guido’s broad and rapid handling, he paused before Titian’s portraits, he delighted in the Flemish masters. The dark veil enshrouding the ancient pictures had not yet wholly passed away from before them; but he already saw something in them, though in private he did not agree with the professor that the secrets of the old masters are irremediably lost to us. It seemed to him that the nineteenth century had improved upon them considerably, that the delineation of nature was more clear, more vivid, more close. It sometimes vexed him when he saw how a strange artist, French or German, sometimes not even a painter by profession, but only a skilful dauber, produced, by the celerity of his brush and the vividness of his colouring, a universal commotion, and amassed in a twinkling a funded capital. This did not occur to him when fully occupied with his own work, for then he forgot food and drink and all the world. But when dire want arrived, when he had no money wherewith to buy brushes and colours, when his implacable landlord came ten times a day to demand the rent for his rooms, then did the luck of the wealthy artists recur to his hungry imagination; then did the thought which so often traverses Russian minds, to give up altogether, and go down hill, utterly to the bad, traverse his. And now he was almost in this frame of mind.