ceiling. The walls are decorated with a number of sketches, painted fans,
and palettes; several framed pictures lean against the wainscoting. Smell
of paints and tobacco smoke; brushes, tubes, overcoats which the guests
had thrown aside; an old rubber shoe filled with nails and junk; on the
easel in the corner a large, half-finished portrait of Paulsberg.

This was Milde's studio.

When Ole Henriksen entered about nine o'clock all the guests were
assembled, also Tidemand and his wife. There were altogether ten or twelve
people. The three lamps were covered with opaque shades, and the heavy
tobacco smoke did not make the room any lighter. This obscurity was
evidently Mrs. Hanka's idea. A couple of very young gentlemen, beardless
students with bachelor degrees, were of the party; they were poets who had
put aside their studies last year. Their heads were so closely cropped as
to be almost entirely naked. One of them carried a small compass on his
watch-chain. They were Ojen's comrades, his admirers and pupils; both
wrote verses.

Besides these, one noticed a man from the _Gazette_, Journalist
Gregersen, the literary member of the staff. He was a man who did his
friends many a favour and published in his paper many an item concerning
them. Paulsberg showed him the greatest deference, and conversed with him
about his series, "New Literature," which he found admirable; and the
Journalist was happy and proud because of this approbation. He had a
peculiar habit of twisting words so that they sounded odd and absurd, and
nobody could turn this trick as smartly as he.

"It is rather difficult to write such a series within reasonable limits,"
he says. "There are so many authors that have to be included--a veritable