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And when she looked at the big painting that dominated the end wall, the same thing happened. It would have affected her the same way whoever had painted it, because it was a masterpiece. What it showed was a middle-aged black man, in a uniform with epaulettes [epa'lets] and medals, in the act of falling on to the red-carpeted floor of a well furnished room. He'd been eating a meal, and on the table beside him there was a plate of yellow soup. Beyond him, through the open door and at the open window, stood a crowd of people, watching: white people and black, old and young, richly dressed and poverty- stricken. Some of them carried objects that helped you understand who they were: a wad of dollar bills for a banker, a clutch of guns? for an arms dealer, a chicken for a peasant; and the expressions on their faces told Ginny that they'd all in some ways been victims or accomplices³ of the man who was dying.
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The big painting on the end wall was a masterpiece that affected Ginny deeply. It showed a middle-aged black man in a uniform with epaulettes and medals falling onto a red-carpeted floor in a well-furnished room while eating a meal. A plate of yellow soup was on the table beside him. A crowd of people, including white and black, old and young, richly dressed and poverty-stricken, stood beyond him through the open door and open window, watching. The expressions on their faces indicated that they had all, in some way, been victims or accomplices of the man who was dying. Some of them carried objects that helped to identify them, such as a wad of dollar bills for a banker, a clutch of guns for an arms dealer, and a chicken for a peasant.