When they sat to him, they sometimes assumed expressions which greatly amazed the artist; one tried to express melancholy; another, meditation; a third wanted to make her mouth appear small on any terms, and puckered it up to such an extent that it finally looked like a spot about as big as a pinhead. And in spite of all this, they demanded of him good likenesses and unconstrained naturalness. The men were no better: one insisted on being painted with an energetic, muscular turn to his head; another, with upturned, inspired eyes; a lieutenant of the guard demanded that Mars should be visible in his eyes; an official in the civil service drew himself up to his full height in order to have his uprightness expressed in his face, and that his hand might rest on a book bearing the words in plain characters, "He always stood up for the right."

At first such demands threw the artist into a cold perspiration. Finally he acquired the knack of it, and never troubled himself at all about it. He understood at a word how each wanted himself portrayed. If a man wanted Mars in his face, he put in Mars: he gave a Byronic turn and attitude to those who aimed at Byron. If the ladies wanted to be Corinne, Undine, or Aspasia, he agreed with great readiness, and threw in a sufficient measure of good looks from his own imagination, which does no harm, and for the sake of which an artist is even forgiven a lack of resemblance. He soon began to wonder himself at the rapidity and dash of his brush. And of course those who sat to him were in ecstasies, and proclaimed him a genius.

Tchartkoff became a fashionable artist in every sense of the word. He began to dine out, to escort ladies to picture galleries, to dress foppishly, and to assert audibly that an artist should belong to society, that he must uphold his profession, that artists mostly dress like showmakers, do not know how to behave themselves, do not maintain the highest tone, and are lacking in all polish. At home, in his studio, he carried cleanliness and spotlessness to the last extreme, set up two superb footmen, took fashionable pupils, dressed several times a day, curled his hair, practised various manners of receiving his callers, and busied himself in adorning his person in every conceivable way, in order to produce a pleasing impression on the ladies. In short, it would soon have been impossible for any one to have recognised in him the modest artist who had formerly toiled unknown in his miserable quarters in the Vasilievsky Ostroff.

He now expressed himself decidedly concerning artists and art; declared that too much credit had been given to the old masters; that even Raphael did not always paint well, and that fame attached to many of his works simply by force of tradition: that Michael Angelo was a braggart because he could boast only a knowledge of anatomy; that there was no grace about him, and that real brilliancy and power of treatment and colouring were to be looked for in the present century. And there, naturally, the question touched him personally. "I do not understand," said he, "how others toil and work with difficulty: a man who labours for months over a picture is a dauber, and no artist in my opinion; I don't believe he has any talent: genius works boldly, rapidly. Here is this portrait which I painted in two days, this head in one day, this in a few hours, this in little more than an hour. No, I confess I do not recognise as art that which adds line to line; that is a handicraft, not art." In this manner did he lecture his visitors; and the visitors admired the strength and boldness of his works, uttered exclamations on hearing how fast they had been produced, and said to each other, "This is talent, real talent! see how he speaks, how his eyes gleam! There is something really extraordinary in his face!"

It flattered the artist to hear such reports about himself. When printed praise appeared in the papers, he rejoiced like a child, although this praise was purchased with his money. He carried the printed slips about with him everywhere, and showed them to friends and acquaintances as if by accident. His fame increased, his works and orders multiplied. Already the same portraits over and over again wearied him, by the same attitudes and turns, which he had learned by heart. He painted them now without any great interest in his work, brushing in some sort of a head, and giving them to his pupil's to finish. At first he had sought to devise a new attitude each time. Now this had grown wearisome to him. His brain was tired with planning and thinking. It was out of his power; his fashionable life bore him far away from labour and thought. His work grew cold and colourless; and he betook himself with indifference to the reproduction of monotonous, well-worn forms. The eternally spick-and-span uniforms, and the so-to-speak buttoned-up faces of the government officials, soldiers, and statesmen, did not offer a wide field for his brush: it forgot how to render superb draperies and powerful emotion and passion. Of grouping, dramatic effect and its lofty connections, there was nothing. In face of him was only a uniform, a corsage, a dress-coat, and before which the artist feels cold and all imagination vanishes. Even his own peculiar merits were no longer visible in his works, yet they continued to enjoy renown; although genuine connoisseurs and artists merely shrugged their shoulders when they saw his latest productions. But some who had known Tchartkoff in his earlier days could not understand how the talent of which he had given such clear indications in the outset could so have vanished; and strove in vain to divine by what means genius could be extinguished in a man just when he had attained to the full development of his powers.

But the intoxicated artist did not hear these criticisms. He began to attain to the age of dignity, both in mind and years: to grow stout, and increase visibly in flesh.