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- Лев Толстой
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- Анна Каренина
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- Стр. 482/828
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He
forgot
all
he
had
thought
about
his
picture
before
during
the
three
years
he
had
been
painting
it
;
he
forgot
all
its
qualities
which
had
been
absolutely
certain
to
him
—
he
saw
the
picture
with
their
indifferent
,
new
,
outside
eyes
,
and
saw
nothing
good
in
it
.
He
saw
in
the
foreground
Pilate
’
s
irritated
face
and
the
serene
face
of
Christ
,
and
in
the
background
the
figures
of
Pilate
’
s
retinue
and
the
face
of
John
watching
what
was
happening
.
Every
face
that
,
with
such
agony
,
such
blunders
and
corrections
had
grown
up
within
him
with
its
special
character
,
every
face
that
had
given
him
such
torments
and
such
raptures
,
and
all
these
faces
so
many
times
transposed
for
the
sake
of
the
harmony
of
the
whole
,
all
the
shades
of
color
and
tones
that
he
had
attained
with
such
labor
—
all
of
this
together
seemed
to
him
now
,
looking
at
it
with
their
eyes
,
the
merest
vulgarity
,
something
that
had
been
done
a
thousand
times
over
.
The
face
dearest
to
him
,
the
face
of
Christ
,
the
center
of
the
picture
,
which
had
given
him
such
ecstasy
as
it
unfolded
itself
to
him
,
was
utterly
lost
to
him
when
he
glanced
at
the
picture
with
their
eyes
.
He
saw
a
well
-
painted
(
no
,
not
even
that
—
he
distinctly
saw
now
a
mass
of
defects
)
repetition
of
those
endless
Christs
of
Titian
,
Raphael
,
Rubens
,
and
the
same
soldiers
and
Pilate
.
It
was
all
common
,
poor
,
and
stale
,
and
positively
badly
painted
—
weak
and
unequal
.
They
would
be
justified
in
repeating
hypocritically
civil
speeches
in
the
presence
of
the
painter
,
and
pitying
him
and
laughing
at
him
when
they
were
alone
again
.
The
silence
(
though
it
lasted
no
more
than
a
minute
)
became
too
intolerable
to
him
.
To
break
it
,
and
to
show
he
was
not
agitated
,
he
made
an
effort
and
addressed
Golenishtchev
.
“
I
think
I
’
ve
had
the
pleasure
of
meeting
you
,
”
he
said
,
looking
uneasily
first
at
Anna
,
then
at
Vronsky
,
in
fear
of
losing
any
shade
of
their
expression
.
“
To
be
sure
!
We
met
at
Rossi
’
s
,
do
you
remember
,
at
that
soirée
when
that
Italian
lady
recited
—
the
new
Rachel
?
”
Golenishtchev
answered
easily
,
removing
his
eyes
without
the
slightest
regret
from
the
picture
and
turning
to
the
artist
.
Noticing
,
however
,
that
Mihailov
was
expecting
a
criticism
of
the
picture
,
he
said
:
“
Your
picture
has
got
on
a
great
deal
since
I
saw
it
last
time
;
and
what
strikes
me
particularly
now
,
as
it
did
then
,
is
the
figure
of
Pilate
.
One
so
knows
the
man
:
a
good
-
natured
,
capital
fellow
,
but
an
official
through
and
through
,
who
does
not
know
what
it
is
he
’
s
doing
.
But
I
fancy
.
.
.
.
”
All
Mihailov
’
s
mobile
face
beamed
at
once
;
his
eyes
sparkled
.
He
tried
to
say
something
,
but
he
could
not
speak
for
excitement
,
and
pretended
to
be
coughing
.
Low
as
was
his
opinion
of
Golenishtchev
’
s
capacity
for
understanding
art
,
trifling
as
was
the
true
remark
upon
the
fidelity
of
the
expression
of
Pilate
as
an
official
,
and
offensive
as
might
have
seemed
the
utterance
of
so
unimportant
an
observation
while
nothing
was
said
of
more
serious
points
,
Mihailov
was
in
an
ecstasy
of
delight
at
this
observation
.
He
had
himself
thought
about
Pilate
’
s
figure
just
what
Golenishtchev
said
.
The
fact
that
this
reflection
was
but
one
of
millions
of
reflections
,
which
as
Mihailov
knew
for
certain
would
be
true
,
did
not
diminish
for
him
the
significance
of
Golenishtchev
’
s
remark
.
His
heart
warmed
to
Golenishtchev
for
this
remark
,
and
from
a
state
of
depression
he
suddenly
passed
to
ecstasy
.
At
once
the
whole
of
his
picture
lived
before
him
in
all
the
indescribable
complexity
of
everything
living
.
Mihailov
again
tried
to
say
that
that
was
how
he
understood
Pilate
,
but
his
lips
quivered
intractably
,
and
he
could
not
pronounce
the
words
.
Vronsky
and
Anna
too
said
something
in
that
subdued
voice
in
which
,
partly
to
avoid
hurting
the
artist
’
s
feelings
and
partly
to
avoid
saying
out
loud
something
silly
—
so
easily
said
when
talking
of
art
—
people
usually
speak
at
exhibitions
of
pictures
.
Mihailov
fancied
that
the
picture
had
made
an
impression
on
them
too
.
He
went
up
to
them
.
“
How
marvelous
Christ
’
s
expression
is
!
”
said
Anna
.
Of
all
she
saw
she
liked
that
expression
most
of
all
,
and
she
felt
that
it
was
the
center
of
the
picture
,
and
so
praise
of
it
would
be
pleasant
to
the
artist
.
“
One
can
see
that
He
is
pitying
Pilate
.
”
This
again
was
one
of
the
million
true
reflections
that
could
be
found
in
his
picture
and
in
the
figure
of
Christ
.
She
said
that
He
was
pitying
Pilate
.
In
Christ
’
s
expression
there
ought
to
be
indeed
an
expression
of
pity
,
since
there
is
an
expression
of
love
,
of
heavenly
peace
,
of
readiness
for
death
,
and
a
sense
of
the
vanity
of
words
.
