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clearer as far as K. could make out. “That’s the figure of jus-
tice,” said the painter, finally. “Now I see,” said K., “here’s
the blindfold and here are the scales. But aren’t those wings
on her heels, and isn’t she moving?” “Yes,” said the painter,
“I had to paint it like that according to the contract. It’s ac-
tually the figure of justice and the goddess of victory all in
one.” “That is not a good combination,” said K. with a smile.
“Justice needs to remain still, otherwise the scales will move
about and it won’t be possible to make a just verdict.” “I’m
just doing what the client wanted,” said the painter. “Yes,
certainly,” said K., who had not meant to criticise anyone by
that comment. “You’ve painted the figure as it actually ap-
pears on the throne.” “No,” said the painter, “I’ve never seen
that figure or that throne, it’s all just invention, but they told
me what it was I had to paint.” “How’s that?” asked K. pre-
tending not fully to understand what the painter said. “That
is a judge sitting on the judge’s chair, isn’t it?” “Yes, “ said
the painter, “but that judge isn’t very high up and he’s never
sat on any throne like that.” “And he has himself painted in
such a grand pose? He’s sitting there just like the president
of the court.” “Yeah, gentlemen like this are very vain,” said
the painter. “But they have permission from higher up to get
themselves painted like this. It’s laid down quite strictly just
what sort of portrait each of them can get for himself. Only
it’s a pity that you can’t make out the details of his costume
and pose in this picture, pastel colours aren’t really suitable
for showing people like this.” “Yes,” said K., “it does seem
odd that it’s in pastel colours.” “That’s what the judge want-
ed,” said the painter, “it’s meant to be for a woman.” The

1 The Trial