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- Анна Каренина
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- Стр. 481/828
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”
And
having
made
peace
with
his
wife
he
put
on
an
olive
-
green
overcoat
with
a
velvet
collar
and
a
hat
,
and
went
towards
his
studio
.
The
successful
figure
he
had
already
forgotten
.
Now
he
was
delighted
and
excited
at
the
visit
of
these
people
of
consequence
,
Russians
,
who
had
come
in
their
carriage
.
Of
his
picture
,
the
one
that
stood
now
on
his
easel
,
he
had
at
the
bottom
of
his
heart
one
conviction
—
that
no
one
had
ever
painted
a
picture
like
it
.
He
did
not
believe
that
his
picture
was
better
than
all
the
pictures
of
Raphael
,
but
he
knew
that
what
he
tried
to
convey
in
that
picture
,
no
one
ever
had
conveyed
.
This
he
knew
positively
,
and
had
known
a
long
while
,
ever
since
he
had
begun
to
paint
it
.
But
other
people
’
s
criticisms
,
whatever
they
might
be
,
had
yet
immense
consequence
in
his
eyes
,
and
they
agitated
him
to
the
depths
of
his
soul
.
Any
remark
,
the
most
insignificant
,
that
showed
that
the
critic
saw
even
the
tiniest
part
of
what
he
saw
in
the
picture
,
agitated
him
to
the
depths
of
his
soul
.
He
always
attributed
to
his
critics
a
more
profound
comprehension
than
he
had
himself
,
and
always
expected
from
them
something
he
did
not
himself
see
in
the
picture
.
And
often
in
their
criticisms
he
fancied
that
he
had
found
this
.
He
walked
rapidly
to
the
door
of
his
studio
,
and
in
spite
of
his
excitement
he
was
struck
by
the
soft
light
on
Anna
’
s
figure
as
she
stood
in
the
shade
of
the
entrance
listening
to
Golenishtchev
,
who
was
eagerly
telling
her
something
,
while
she
evidently
wanted
to
look
round
at
the
artist
He
was
himself
unconscious
how
,
as
he
approached
them
,
he
seized
on
this
impression
and
absorbed
it
,
as
he
had
the
chin
of
the
shopkeeper
who
had
sold
him
the
cigars
,
and
put
it
away
somewhere
to
be
brought
out
when
he
wanted
it
.
The
visitors
,
not
agreeably
impressed
beforehand
by
Golenishtchev
’
s
account
of
the
artist
,
were
still
less
so
by
his
personal
appearance
.
Thick
-
set
and
of
middle
height
,
with
nimble
movements
,
with
his
brown
hat
,
olive
-
green
coat
and
narrow
trousers
—
though
wide
trousers
had
been
a
long
while
in
fashion
,
—
most
of
all
,
with
the
ordinariness
of
his
broad
face
,
and
the
combined
expression
of
timidity
and
anxiety
to
keep
up
his
dignity
,
Mihailov
made
an
unpleasant
impression
.
“
Please
step
in
,
”
he
said
,
trying
to
look
indifferent
,
and
going
into
the
passage
he
took
a
key
out
of
his
pocket
and
opened
the
door
.
On
entering
the
studio
,
Mihailov
once
more
scanned
his
visitors
and
noted
down
in
his
imagination
Vronsky
’
s
expression
too
,
and
especially
his
jaws
.
Although
his
artistic
sense
was
unceasingly
at
work
collecting
materials
,
although
he
felt
a
continually
increasing
excitement
as
the
moment
of
criticizing
his
work
drew
nearer
,
he
rapidly
and
subtly
formed
,
from
imperceptible
signs
,
a
mental
image
of
these
three
persons
.
That
fellow
(
Golenishtchev
)
was
a
Russian
living
here
.
Mihailov
did
not
remember
his
surname
nor
where
he
had
met
him
,
nor
what
he
had
said
to
him
.
He
only
remembered
his
face
as
he
remembered
all
the
faces
he
had
ever
seen
;
but
he
remembered
,
too
,
that
it
was
one
of
the
faces
laid
by
in
his
memory
in
the
immense
class
of
the
falsely
consequential
and
poor
in
expression
.
The
abundant
hair
and
very
open
forehead
gave
an
appearance
of
consequence
to
the
face
,
which
had
only
one
expression
—
a
petty
,
childish
,
peevish
expression
,
concentrated
just
above
the
bridge
of
the
narrow
nose
.
Vronsky
and
Madame
Karenina
must
be
,
Mihailov
supposed
,
distinguished
and
wealthy
Russians
,
knowing
nothing
about
art
,
like
all
those
wealthy
Russians
,
but
posing
as
amateurs
and
connoisseurs
.
“
Most
likely
they
’
ve
already
looked
at
all
the
antiques
,
and
now
they
’
re
making
the
round
of
the
studios
of
the
new
people
,
the
German
humbug
,
and
the
cracked
Pre
-
Raphaelite
English
fellow
,
and
have
only
come
to
me
to
make
the
point
of
view
complete
,
”
he
thought
.
He
was
well
acquainted
with
the
way
dilettanti
have
(
the
cleverer
they
were
the
worse
he
found
them
)
of
looking
at
the
works
of
contemporary
artists
with
the
sole
object
of
being
in
a
position
to
say
that
art
is
a
thing
of
the
past
,
and
that
the
more
one
sees
of
the
new
men
the
more
one
sees
how
inimitable
the
works
of
the
great
old
masters
have
remained
.
He
expected
all
this
;
he
saw
it
all
in
their
faces
,
he
saw
it
in
the
careless
indifference
with
which
they
talked
among
themselves
,
stared
at
the
lay
figures
and
busts
,
and
walked
about
in
leisurely
fashion
,
waiting
for
him
to
uncover
his
picture
.
But
in
spite
of
this
,
while
he
was
turning
over
his
studies
,
pulling
up
the
blinds
and
taking
off
the
sheet
,
he
was
in
intense
excitement
,
especially
as
,
in
spite
of
his
conviction
that
all
distinguished
and
wealthy
Russians
were
certain
to
be
beasts
and
fools
,
he
liked
Vronsky
,
and
still
more
Anna
.
“
Here
,
if
you
please
,
”
he
said
,
moving
on
one
side
with
his
nimble
gait
and
pointing
to
his
picture
,
“
it
’
s
the
exhortation
to
Pilate
.
Matthew
,
chapter
xxvii
,
”
he
said
,
feeling
his
lips
were
beginning
to
tremble
with
emotion
.
He
moved
away
and
stood
behind
them
.
For
the
few
seconds
during
which
the
visitors
were
gazing
at
the
picture
in
silence
Mihailov
too
gazed
at
it
with
the
indifferent
eye
of
an
outsider
.
For
those
few
seconds
he
was
sure
in
anticipation
that
a
higher
,
juster
criticism
would
be
uttered
by
them
,
by
those
very
visitors
whom
he
had
been
so
despising
a
moment
before
.
