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- Лев Толстой
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- Анна Каренина
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- Стр. 486/828
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Mihailov
sold
Vronsky
his
picture
,
and
agreed
to
paint
a
portrait
of
Anna
.
On
the
day
fixed
he
came
and
began
the
work
.
From
the
fifth
sitting
the
portrait
impressed
everyone
,
especially
Vronsky
,
not
only
by
its
resemblance
,
but
by
its
characteristic
beauty
.
It
was
strange
how
Mihailov
could
have
discovered
just
her
characteristic
beauty
.
“
One
needs
to
know
and
love
her
as
I
have
loved
her
to
discover
the
very
sweetest
expression
of
her
soul
,
”
Vronsky
thought
,
though
it
was
only
from
this
portrait
that
he
had
himself
learned
this
sweetest
expression
of
her
soul
.
But
the
expression
was
so
true
that
he
,
and
others
too
,
fancied
they
had
long
known
it
.
“
I
have
been
struggling
on
for
ever
so
long
without
doing
anything
,
”
he
said
of
his
own
portrait
of
her
,
“
and
he
just
looked
and
painted
it
.
That
’
s
where
technique
comes
in
.
”
“
That
will
come
,
”
was
the
consoling
reassurance
given
him
by
Golenishtchev
,
in
whose
view
Vronsky
had
both
talent
,
and
what
was
most
important
,
culture
,
giving
him
a
wider
outlook
on
art
.
Golenishtchev
’
s
faith
in
Vronsky
’
s
talent
was
propped
up
by
his
own
need
of
Vronsky
’
s
sympathy
and
approval
for
his
own
articles
and
ideas
,
and
he
felt
that
the
praise
and
support
must
be
mutual
.
In
another
man
’
s
house
,
and
especially
in
Vronsky
’
s
palazzo
,
Mihailov
was
quite
a
different
man
from
what
he
was
in
his
studio
.
He
behaved
with
hostile
courtesy
,
as
though
he
were
afraid
of
coming
closer
to
people
he
did
not
respect
.
He
called
Vronsky
“
your
excellency
,
”
and
notwithstanding
Anna
’
s
and
Vronsky
’
s
invitations
,
he
would
never
stay
to
dinner
,
nor
come
except
for
the
sittings
.
Anna
was
even
more
friendly
to
him
than
to
other
people
,
and
was
very
grateful
for
her
portrait
.
Vronsky
was
more
than
cordial
with
him
,
and
was
obviously
interested
to
know
the
artist
’
s
opinion
of
his
picture
.
Golenishtchev
never
let
slip
an
opportunity
of
instilling
sound
ideas
about
art
into
Mihailov
.
But
Mihailov
remained
equally
chilly
to
all
of
them
.
Anna
was
aware
from
his
eyes
that
he
liked
looking
at
her
,
but
he
avoided
conversation
with
her
.
Vronsky
’
s
talk
about
his
painting
he
met
with
stubborn
silence
,
and
he
was
as
stubbornly
silent
when
he
was
shown
Vronsky
’
s
picture
.
He
was
unmistakably
bored
by
Golenishtchev
’
s
conversation
,
and
he
did
not
attempt
to
oppose
him
.
Altogether
Mihailov
,
with
his
reserved
and
disagreeable
,
as
it
were
,
hostile
attitude
,
was
quite
disliked
by
them
as
they
got
to
know
him
better
;
and
they
were
glad
when
the
sittings
were
over
,
and
they
were
left
with
a
magnificent
portrait
in
their
possession
,
and
he
gave
up
coming
.
Golenishtchev
was
the
first
to
give
expression
to
an
idea
that
had
occurred
to
all
of
them
,
which
was
that
Mihailov
was
simply
jealous
of
Vronsky
.
“
Not
envious
,
let
us
say
,
since
he
has
talent
;
but
it
annoys
him
that
a
wealthy
man
of
the
highest
society
,
and
a
count
,
too
(
you
know
they
all
detest
a
title
)
,
can
,
without
any
particular
trouble
,
do
as
well
,
if
not
better
,
than
he
who
has
devoted
all
his
life
to
it
.
And
more
than
all
,
it
’
s
a
question
of
culture
,
which
he
is
without
.
”
Vronsky
defended
Mihailov
,
but
at
the
bottom
of
his
heart
he
believed
it
,
because
in
his
view
a
man
of
a
different
,
lower
world
would
be
sure
to
be
envious
.
Anna
’
s
portrait
—
the
same
subject
painted
from
nature
both
by
him
and
by
Mihailov
—
ought
to
have
shown
Vronsky
the
difference
between
him
and
Mihailov
;
but
he
did
not
see
it
.
Only
after
Mihailov
’
s
portrait
was
painted
he
left
off
painting
his
portrait
of
Anna
,
deciding
that
it
was
now
not
needed
.
His
picture
of
mediæval
life
he
went
on
with
.
And
he
himself
,
and
Golenishtchev
,
and
still
more
Anna
,
thought
it
very
good
,
because
it
was
far
more
like
the
celebrated
pictures
they
knew
than
Mihailov
’
s
picture
.
