Chapter 11

           Onenteringthestudio,MihailovoncemorescannedhisvisitorsandnoteddowninhisimaginationVronsky’sexpressiontoo,andespeciallyhisjaws.Althoughhisartisticsensewasunceasinglyatworkcollectingmaterials,althoughhefeltacontinuallyincreasingexcitementasthemomentofcriticizinghisworkdrewnearer,herapidlyandsubtlyformed,fromimperceptiblesigns,amentalimageofthesethreepersons.

           Thatfellow(Golenishtchev)wasaRussianlivinghere.Mihailovdidnotrememberhissurnamenorwherehehadmethim,norwhathehadsaidtohim.Heonlyrememberedhisfaceasherememberedallthefaceshehadeverseen;butheremembered,too,thatitwasoneofthefaceslaidbyinhismemoryintheimmenseclassofthefalselyconsequentialandpoorinexpression.Theabundanthairandveryopenforeheadgaveanappearanceofconsequencetotheface,whichhadonlyoneexpression—apetty,childish,peevishexpression,concentratedjustabovethebridgeofthenarrownose.VronskyandMadameKareninamustbe,Mihailovsupposed,distinguishedandwealthyRussians,knowingnothingaboutart,likeallthosewealthyRussians,butposingasamateursandconnoisseurs.“Mostlikelythey’vealreadylookedatalltheantiques,andnowthey’remakingtheroundofthestudiosofthenewpeople,theGermanhumbug,andthecrackedPre-RaphaeliteEnglishfellow,andhaveonlycometometomakethepointofviewcomplete,”hethought.