indifferent as in other streets; on the pavement walked the same passers-by. No one was in a hurry; no one hid his face in his collar; no one shook his head reproachfully. And in this indifference, in the confused sound of the pianos and fiddles, in the bright windows and wide-open doors, something very free, impudent, bold and daring could be felt. It must have been the same as this in the old times on the slave-markets, as gay and as noisy; people looked and walked with the same indifference.
"Let's begin right at the beginning," said the painter.
The friends walked into a narrow little passage lighted by a single lamp with a reflector. When they opened the door a man in a black jacket rose lazily from the yellow sofa in the hall. He had an unshaven lackey's face and sleepy eyes. The place smelt like a laundry, and of vinegar. From the hall a door led into a brightly lighted room. The medico and the painter stopped in the doorway, stretched out their necks and peeped into the room together:
"Buona sera, signore, Rigoletto—huguenote—traviata!—" the painter began, making a theatrical bow.
"Havanna—blackbeetlano—pistoletto!" said the medico, pressing his hat to his heart and bowing low.
Vassiliev kept behind them. He wanted to bow theatrically too and say something silly.
