"I've seen it," answered Golenishtchev. "Of course, he's not
without talent, but it's all in a wrong direction. It's all the
Ivanov-Strauss-Renan attitude to Christ and to religious
painting."

"What is the subject of the picture?" asked Anna.

"Christ before Pilate. Christ is represented as a Jew with all
the realism of the new school."

And the question of the subject of the picture having brought him
to one of his favorite theories, Golenishtchev launched forth
into a disquisition on it.

"I can't understand how they can fall into such a gross mistake.
Christ always has His definite embodiment in the art of the great
masters. And therefore, if they want to depict, not God, but a
revolutionist or a sage, let them take from history a Socrates, a
Franklin, a Charlotte Corday, but not Christ. They take the very
figure which cannot be taken for their art, and then..."

"And is it true that this Mihailov is in such poverty?" asked
Vronsky, thinking that, as a Russian Maecenas, it was his duty to
assist the artist regardless of whether the picture were good or
bad.

"I should say not. He's a remarkable portrait-painter. Have you
ever seen his portrait of Madame Vassiltchikova? But I believe he
doesn't care about painting any more portraits, and so very
likely he is in want. I maintain that..."