John William Waterhouse Echo and Narcissus painting

John William Waterhouse Echo and Narcissus paintingJohn William Waterhouse The Lady of Shalott paintingLeonardo da Vinci The Last Supper painting
We gained the lift, went down, and met the same scene in the lobby, magnified. "Give us the Goat, the Goat, the Goat!" they cried, and though a few seemed more in carnival-spirits than in murderous -- linking arms with their lady girls and lifting emblazoned steins -- the most looked dangerous enough. A half-circle of riot-officers held them from the lift-doors as a man in a neat woolen suit explained our intention through a megaphone.
"Please remain orderly," he implored them. "Surely you don't want to injure the Grand Tutor, and you can't tell which is which. They're going to the Belly now; you'll see the results at the rear exit. Please remain orderly, and do be careful with fire. . ."
I was startled to recognize the voice, and then the face, as Maurice Stoker's. Anastasia's report notwithstanding, it was difficult to believe that this tidy, bare-chinned chap -- whom I now saw full on, quietly exhorting one of his men to remain calm in the face of the mob's provocation -- was not some pallid, obverse twin of the Power-Plant Director. The crowd paid little heed except to jeer him, and threatened at any moment to breach the line of guards who but the day before would have had at them with bayonets and cattle-prods. Yet Stoker delayed us for anxious seconds between the elevator we'd left and the one we sought, a few doors down.