get this studio for nothing I'd have moved out a long time ago." Just then, a little voice, tender and anxious, called out from under the door, "Titorelli, can we come in now?" "No," answered the painter. "Not even just me, by myself?" the voice asked again. "Not even just you," said the painter, as he went to the door and locked it. Meanwhile, K. had been looking round the room, if it had not been pointed out it would never have occurred to him that this wretched little room could be called a studio. It was hardly long enough or broad enough to make two steps. Everything, floor, walls and ceiling, was made of wood, between the planks narrow gaps could be seen. Across from where K. was, the bed stood against the wall under a covering of many different colours. In the middle of the room a picture stood on an easel, covered over with a shirt whose arms dangled down to the ground. Behind K. was the window through which the fog made it impossible to see further than the snow covered roof of the neighbouring building. The turning of the key in the lock reminded K. that he had not wanted to stay too long. So he drew the manufacturer's letter out from his pocket, held it out to the painter and said, "I learned about you from this gentleman, an acquaintance of yours, and it's on his advice that I've come here." The painter glanced through the letter and threw it down onto the bed. If the manufacturer had not said very clearly that Titorelli was an acquaintance of his, a poor man who was dependent on his charity, then it would really have been quite possible to believe that Titorelli did not know him or at least that he could not remember him. This impression was augmented by the painter's asking, "Were you wanting to buy some pictures or did you want to have yourself painted?" K. looked at the painter in astonishment. What did the letter actually say? K. had taken it as a matter of course that the manufacturer had explained to the painter in his letter that K. wanted nothing more with him than to find out more about his trial. He had been far too rash in coming here! But now he had to give the painter some sort of answer and, glancing at the easel, said, "Are you working on a picture currently?" "Yes," said the painter, and he took the shirt hanging over the easel and threw it onto the bed after the letter. "It's a portrait. Quite a good piece of work, although it's not quite finished yet." This was a convenient coincidence for K., it gave him a good opportunity to talk about the court as the picture showed, very clearly, a judge. What's more, it was remarkably similar to the picture in the lawyer's office, although this one showed a quite different judge, a heavy man with a full beard which was black and bushy and extended to the sides far up the man's cheeks. The lawyer's picture was also an oil painting, whereas this one had been made with pastel colours and was pale and unclear. But everything else about the picture was similar, as this