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 medieval 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.