do work, walk, and relax in peace. One amongst them appeared mysteriously, dressed in painfully dated clothes, saying a car had dropped him off at a bend in the road, and he had walked the rest of the way. His shoes were utterly worn to where the other artists wondered if he had walked all the way from Bucharest. He affirms their question as to if he is Ion Grigorescu. They give him a pair of boots they found hanging up. He spends all day seeming to do no work; he just walks around observing the other artists, not speaking a word or returning conversation. Eventually they realize he is nowhere to be found in the early mornings. After searching for a few days, they hear a faint sound from the wilderness beyond the camp. There they find Grigorescu digging an enormous pit. In the pit is a life-sized horse, galloping, baring its teeth, and foaming at the mouth, sculpted out of earth, but looking as if it were trying to flee the earth. Grigorescu doesn't notice them until one artist accidentally makes noise. To their murmurs, he says only that there are so many more of them. Together they leave, Grigorescu gives back the boots, and asks to be let off at a bend in the road, where he disappears into the wilderness. 233. Where You'll Be Looking The first sentence concerns how his coworkers view Monsieur Chaivagne, a 32-year veteran Louvre museum guard who watches the Venus de Milo every day. He is inscrutable and peculiar in his satisfaction and desire to guard one of the museum's most popular works. The second sentence describes how Monsieur Chaivagne would speak to an inquisitive visitor. While giving the statue's history, Chaivagne tries to impress the importance of Praxiteles, the original sculptor, whose work is copied into the Venus de Milo. No one knows what the original sculpture looked like, let alone the Venus de Milo in its original form. In the third sentence, Chaivagne is musing to himself while soaking his feet at home and looking at images of the sculpture. He thinks about what he would might like to speak to someone, but doesn't. He is empty inside, like all other things are empty in light of the work. He imagines a coworker or scholar pressing him on what he sees in the Venus, and considers that he does