Dzhirjinsky came at 10 a.m. for an hour. He is leaving Moscow for a fortnight, so that I can get no more sittings, but seeing how keen I was, he stayed on and on, doling out ten minutes and quarter-hours as so much fine gold. He sits so well that two sittings are worth four of Zinoviev’s. When the Savonarola of the Revolution left, I felt a real sadness that I may never see him again. Zinoviev sat again in the afternoon, and brought with him Bucharin and Bela Kun. They seemed to approve of Dzhirjinsky’s bust, and insisted on looking through all the photographs of my work. The “Victory” is what really interests them. I was frightfully disappointed in Bela Kun. I had imagined a romantic figure, but he looks most disreputable. Bucharin is attractive with his trim, neat little beard and young face. This afternoon, after all had left, three soldiers brought a gilt Louis XVI sofa and a Turkestan carpet to my workroom. These had been ordered to help to make it more habitable and to dispel the severity. I had to laugh, the sofa looked so absurdly refined and out of place. I wondered whose drawing-room it once furnished, and to what little tea-time gossips it had listened. At that moment a sculptor called Nicholas Andrev came in and introduced himself to me. He was sent by Kameneff and mercifully speaks French. A big man with small laughing eyes and a red-grey beard, typically Russian. After we had talked for awhile he described to me the difficulties [Illustration: BUST OF DZHIRJINSKY. _p. 87._] under which he had tried to do Lenin in his office, and while he was working. He said that portraiture was not Art. I could not but agree with him, as the difficulty always in doing portraits is that sittings are always too few and too short, but said that one had to put up with it, and do the best one could, breaking one’s heart over it all the time. He said he had given up sculpture for the time being because of the difficult conditions, and had taken to drawing instead. I said that for the present I was intent on portraits, and that Art would have to wait until later. His attitude is characteristic of the sculptor species. They are all so d---- d proud, and if they cannot get all the sittings they need and work under ideal conditions, they do not think it worth while trying. I consider that there are a few people in the world who are worth any effort to do, even if they do not give one a chance to do one’s best work. Andrev laughed and said that that was journalism in Art.