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 soiree 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...”