lency";[1] and, in spite of Vronsky's and Anna's repeated invitations, he never would stay to dinner, or come except at the hours for the sitting. Anna was even more genial to him than to the others, and grateful for her portrait; Vronsky was more than polite to him, and was anxious for his criticism on his paintings; Golenishchef never lost an opportunity of inculcating sound theories of art: still Mikhaïlof remained just as cool as ever to them all. But Anna felt that he liked to look at her, even though he avoided all conversation with her. When Vronsky wanted to talk about his own work he remained obstinately silent, and he was just as obstinately silent when he was shown Vronsky's painting and pictures, and he took no pains to conceal the weariness which Golenishchef's sermons caused him.
On the whole Mikhaïlof, by his distant and disagreeable, as it were hostile, behavior, was very unpopular with them, even after they came to see him closer; and they were glad when the sittings were over, and the painter, having completed an admirable portrait, ceased to come. Golenishchef was the first to express a thought which all had been thinking: that Mikhaïlof was envious of Vronsky.
"We will agree that he is not envious because he has talent; but he is vexed to see a wealthy man, of high position, a count, — and apparently they are all vexed at that, — reaching without especial trouble the skill to paint as well, if not better, than he, though he has devoted his life to painting; but, above all, at your mental culture, which he has not."
Vronsky took Mikhaïlof's part, but he felt at heart that his friend was right; for it seemed to him extremely natural that a man in an inferior position should envy him.
The two portraits of Anna, painted from the life by him and Mikhaïlof, might have shown Vronsky the difference between him and Mikhaïlof, but he did not see it. Only after Mikhaïlof had finished his portrait he ceased to work at his, having decided that it was a
- ↑ Vashe siyatelstvo
