Chapter 133 — Anna Karenina

Life settles into the palazzo, yet domestic details remain half neglected. Anna and Vronsky are not fully at home in housekeeping; the beautiful rooms lack the settled order of a long inhabited house. The baby and nurse exist in the background of Anna's days, present but not central to the narrative mood of art and travel.

Golenishtchev speaks of a Russian painter Mihailov living poorly in the town, a queer fish who may be a genius or a fool. His poverty and pride interest the visitors more than salon art. Golenishtchev suggests they see his work, mixing intellectual curiosity with social adventure.

The chapter turns from Anna's happiness toward the art world that will give Vronsky occupation and test everyone's pretensions. Domestic margin and aesthetic quest sit side by side as Italy becomes something more than a love nest.

Half-settled palazzo life and background baby care frame the turn toward Mihailov. Golenishtchev's talk of a poor Russian painter mixes curiosity with adventure as domestic margin meets aesthetic quest.

Mihailov's poverty interests them more than salon polish; the palazzo's half order shows exile is refuge, not yet home, before painters and patrons arrive. The chapter closes on that beat with no easy moral, only the next consequence waiting in the following pages.