Lord Goring, dressed in the height of fashion…

-Lord Goring
She invariably find it out. Women have a wonderful instinct about things. They can discover everything except the obvious.

-Lord Goring
That is the reason they are so pleased to find out other people’s secrets. It distracts public attention from their own.

-Lady Markby
Ah, I frogot, your husband is an exception. Mine is the general rule, and nothing ages a woman so rapidly as having married the general rule

-Mrs. Cheveley
Morality is simply an attitude we adopt towards the people whom we personally dislike.

-Lady Markby
John was not so painfully personal in his observations, and a man on the question of dress is always ridiculous, is he not?
-Mrs. Cheveley
Oh, no! I think men are the only authorities on dress.

-Mrs. Cheveley
My dear Arthur, women are never disarmed by compliments. Men always are. That is the difference between the two sexes.

-Lord Goring
Women are not meant to judge us, but to forgive us when we need forgiveness. Pardon, not punishment, is their mission.

A man’s life is of more value than a woman’s. It has larger issues, wider scope, greater ambitions. A woman’s life revolves in curves of emotions.

-Lord Goring
I don’t like principles, farther. I prefer prejudices.

-Lord Goring
My dear farther, if we men married the women we deserved, we should have a very bad time of it.

Museums were not founded in the Dutch Republic until the late nineteenth century, and not many paintings hung in churches or public buildings.


More than anything else, a woman’s honor and respectability rested on her sexual behavior: virginity was expected of the unmarried, fidelity of the married.
… Both in social stereotypes and the law, women were regarded as the more lustful sex, lying to wait to devour vulnerable males… A man trying to avoid being a slave to a woman’s unbridled passions was a common theme in jokes, songs, books, the theatre, and art works.


There was a large surplus of women throughout the seventeenth century, with four women for every three men…
Despite the strong social, religious, and legal prohibitions against intercourse prior to marriage, love between young persons, and the sexual yearnings connected with it, were widely aknowledged in Dutch society. There was a considerable toleration of sexual activity among courting couples, short of intercourse. With kweesten, or night-courting, young men spent night unsupervised in the bedrooms of their sweethearts, with the understanding that they would avid sexual intercourse, although many failed to do so.


Boys and girls from the age of six to ten attended the expensive and elite “French” secondary schools…
Both the Latin school and the universities were closed to girls..
The Dutch Republic had the highest level of literacy in Europe, measured my the ability to sign one’s name on a marriage certificate or other legal document…
Jews could become citizens, but they were excluded from guild membership as well as from much of retailing and manufacturing.


For example, Amsterdam men accused f crimes – or caught in flagrante in adultery cases – were often allowed to discharge liability of conviction through payment of a penalty…
Only men free from material want, from manual labor, and dependency on others could, they argued, devote themselves to ensuring the common good of all the city’s residents.


Rainwater or clean well-water was difficult to obtain, because it had to be fetched, often from some distance. Ordinary people usually drank milk or beer instead…
Head lice were picked out rather than washed away


Each of the new mantions contained a zaal (also spelled sael and saal), the most important and formal room in the house.


the wealthy had their laundry washed elsewhere, but brought it home to dry in the attic


Most people ate with knife, spoon, and their fingers. Only the social classes owned and used forks. In the general absense of water for washing their hands, people made wide use of napkins.


…it is safe to assume that most domestic objects were acquired on particular occasions: at marriage, the birth of children, and the death of parents.


Since relatively few rooms had a specialised function as bedrooms, most rooms were used for sleeping.


According to one scholar, the Blaeu atlas was the most expensive printed book of the second half of the seventeenth century. It was designed exlusively for “those members of the patriciate who could command both the material and the intellectual resources that were needed to buy it and to appreciate it”, and the Unitied Republic would present it as a gift to royal and other distinguished personages.

p. 50

Even if signing was common in the family circle or with frineds, playing a musical instrument must have been rare.

In the early seventeenth century, porcelain was known as white gold and was valuable as gold or precious jewels. All porcelain then came frm China, and later from Japan.

p. 52

In an apparent endeavor to convey an appearance of harmony, peace, and serenity, Dutch artists depicted rooms as ordered and uncluttered.


It is not known how painting were arranged in Dutch homes in the seventeenth century… and the mosst useful sources are paintings of domestic interriors and surviving dolls’ houses.

p. 61

Artists worked hard to improve the appearance of their sitters, particulary the faces. They did this mainly by eliminating various features that were considered undesirable, such as the scars or pork-marks caused by smallpox and other disfiguring deseases. Portraits rarely show moles, warts, freckles, large pores, bad complexions, facial hair among women, bags under the eyes, bulgin or squinty eyes, or unususally long or short necks. There are few flat or wide noses, big ears, receding or double chins. Even wrinkles were uncommon, No one has yellow or discolored teeth.


Eglon van der Neer
Elegant Couple in an Interior
Johnny Van Haeften Ltd., London

In the Middle Ages, the contemplation of a nude female body was regarded as sinful spying, and it was not until the eraly sixteenth century that such biblical subjects as Lot and his daughters and Susanna and the elders began to be represented with nude figures. Bthsheba, Salome, and Judith were also popular religious subjects in which female nudity (complete or ratial) was portrayed.


Fugure shos Hendrick Goltzius’s interpretation of this theme. The nipples of one of the daughter’s breasts are erect, as in many paintings in which a young woman’s bare breast are displayed.


Hendrick Goltzius
Lot and hist Daughters
Amsterdam, Rijksmuseum

Some appealed to a voyeuristic impulse, as in the Susanna story, where a woman is spied upon while bathing. The fact that she is being watched makes a beatiful woman even more enticing.


Rubens shows a beautiful young woman giving her breast to her father to suck, and the viewer’s attention is drawn to a part of the body associated with sex and sensuality. As Freedberg notes, the image “blatantly, almost palpably, arouses the senses. Furthermore, it does so sexually, or at the very minimum could do so.”


Peter Paul Rubnes
Cimon and Pero
Amsterdam, Rijksmuseum

At the same time, they (women) were regarded as lustful and in need of protection against their won sexuality. A woman’s lasciviousness was a matter of physiological predetermination, and was evidence of her inferiority.


In his Metamorphoses, the myth of the wise Tiresias, who experienced sex both as a man and as a woman, makes it clear that women get more pleasure out of sex than men do. Tiresias had come upon two snakes coupling, had struck them with his staff, and was miraculously changed into a woman for seven years. When called upon to settle argument between Jupiter and Juno about whether men or women felt more pleasure in sexual intercourse, Tiresias replied that women ded.


For example, there are few depictions of men and women in foreign – or regional – costumes, despite the high proportion of immigrants in Amsterdam and elsewhere in the Dutch Republic.

Sutton notes the surprisingly few genre paintings showing sailors, dock workers, or merchant marines, a group that may have made up as much as one-tenth of the Dutch population.


Some modern scholars have claimed that such paintings, like high-life genres, had a didactic function and were viewed as warnings against the dangers of various earthy enjoyments. According to one, the “joyful, often coarse domestic and tavern scenes have been convincingly established as instructive lessons, warnings against sin, recalling death, challenging the viewer to lead a God-fearing life.”


The paintings must have had other functions. For one, depictions of peasants and their simple pleasures and surroundings must have provided humor and entertainment.


Women’s leg had a sort of mesmerizing power if accidentally exposed, and here the painter allows the male viewer a peek at what was ordinarily forbidden. The theme was a low-life counterpart to the paintings of women attending to their toilet depicted by Titian and other Italian artists, variation of which hung in some Amsterdam homes.


Jan Steen
Woman at Her Toilet
Amsterdam, Rijksmuseum

In Renaissance Italy, Alberti had written that portrayals of beautiful nude boys and handsome and diginfied men were appropriate for the conjugal chamber. It was thought that these paintings could influence sex and appearance of future offspring through a sort of visual imprinting.


Manuth claims that a display of cleavage was rare in the Dutch Republic, except at the “internationally-oriented court” in the Hague, and that such an attire would immediately identify a woman as a prostitute.

Some wealtyh Dutch women chose – or were perhaps persuaded by their husbands – to be protrayed as a shepherdess or other mythological figure. Like a “Portrait of Amelia van Anhalt Dessab and Her Son”, painted by Gerard de Lairesse in 1683. Their pose, and her bare breast, indicate that the painting is intended to depict Venus and Cupid.


The daughters of Johan van Reede as the Three Graces
Gerard van Honthorst
Oud-Zuilen, Museum Slot Zuylen

The Dutch had a generally open attitude toward sexuality and eroticism in the theatre, popular books, poetry, and paintings. Most jokes, either directly or indirectly, concerned sex.


Foreign visitors often remarked on the enormous freedom that young people enjoyed in the Dutch Republic, and it does appear that courting was more often outside parental control than was the case elsewhere in Europe.
While unmarrried men could be forgiven for visiting brothels in search of sexual satisfaction, nothing similar was available for women.


Jews were a notable exception, for they were legally forbidden from marrying or having sexual relations with Christians.

University students also enjoyed rich men’s justice in matters of sexual misconduct. This was clear at the University of Leiden, where students were notoriously badly behaved.


There was, as Mijnhardt notes, “hardly any cataloguing of sexual variations, nor any substantial discussion of mastrubation, sodomy, incest, or homosexuality. Many sexual and erotic guidebooks also appeared, one even depicting an Amsterdam “dildo-shop” on its title page. The most popular was the Dutch adaptation of Nicolas Venette’s well-known manual Tableau de l’amour, published in Dutch as Venus minisieke gasthuis (Venus’ guesthouse for lovers), in which diverse variations of sexual intercourse and different ways of obtaining maximum sexual pleasure were frankly discussed.


Lacking a firm basis for self-esteem, it would not be surprising if many women were preoccupied with their physical appearance.

Like many visual images today, then, the pictures in wealthy Amsterdam homes must have reflected and helped shape women’s self-images, attitudes, and behavior.


The disposition of a family estate was always specified by husband and wife in their marital agreement, although these were often amended in the following years. A detailed inventory of all goods and possessions had to be prepared within a year of the deceased party’s death.


Instead, the fortune and afame of individual artists benefited from the presence of their paintings in wealthy Dutch homes.

“by 1800 more than 90 percent of the paintings existing around 1700 had been lost.”

In accounting for this low survival rate, van der Woude points to some of the conditions destructive of paintings in pre-modern Europe: the extreme dampness of most houses, the open fires that created smoke, soot, and vapor, which became attached to everything, and the harmful effects of candles and oil used for lighting.


In our exploration of the role of paintings in the domestic and imaginative lives of people three centuries ago we reject this commitment to art for art’s sake. Our concern throughout has been with art for life’s sake among men and women in the Dutch Golden Age.


Appraising the monetary worth of paintings and other material goods was a saparate task from describing them. … Licensed by the city of Amstredam, this function was always fulfilled by a woman called schatster.


Towards the end of the seventeenth century, the art market in certain European countries began to be dictated by public auctions: first in Amsterdam, then in London and Paris.


Prince Eugene of Savoy visiting the art dealer Zomer
Pieter van den Berge
Rijksprentenkabinet, Amsterdam

[book info]

Иван Петрович Мятлев

Но теперь не та эпокъ:
Женщина! вяжи чулок,
Не задумывай о речи,
Как алоръ у них при вече.
Нет! – теперь болтливых баб
Въ мигъ квартальный цапъ-царапъ.

стр. 20

Нынче времена иныя:
Наши русачки лихiе
Рады немцамъ указать.
Хваты, нечего сказать!
У моих меньших сестричекъ,
Гувернантка из калмычекъ,
А у братцев гувернеръ
Бывшiй Н.Н. шасеръ,
Сын приказчика простого,
Человека крепостного,
Но который, же ле гажъ,
Навострился анъ вояжъ –
Такъ и режетъ по-французски.


Надобно сказать въ прибавокъ,
ЧТо солдаты все из лавокъ
Набраны, а комендантъ
Ихъ – сигарный фабрикантъ.

стр. 32

Вот здесь Гамбурга ла-бурсъ.
Дом большой, и в немъ две залы.
Наверху – одни журналы:
Тутъ с утра купцы сидятъ
И молчанiе хранятъ;
Даже тутъ и чхнуть не смеешь,
Поневоле оробеешь.
А внизу везде, глядишь,
Все развешены афишъ;
Но не тутъ дела сплетаютъ,
Курсъ монетъ определяютъ:
Нетъ, на то есть ан-дегорь
Крышею покрытый дворъ,
Какъ загонъ скота въ Урайне.

стр. 34

Потому что я мадамъ
И къ комерческимъ деламъ
Не принадлежу по полу.
Виновата – по подолу!!

стр. 35

Мы и съ тем, и съ этимъ дружны,
И ма тантъ, и ле доктеръ,
И КОко, Жано, ма серъ, –
Все на память тутъ приходитъ
И так далеко заводитъ,
Что на первую пору
Въ кошельке ужасный тру;
А ужъ далее что будетъ,
Русскiй думать позабудетъ.
Потранжирить, помотать, –
Вот что русскому подъ стать!

стр. 41

И давно уж сочинили
Басенку про русских баръ:
“Ле корбо и ле ренаръ”.

стр. 43


Здесь вода де Жанъ Фарина
Совершенный спесификъ.

стр. 79

Мужъ пъянюжка – что жъ такое?
Съ нимъ вольней и легче вдвое;
Забурлитъ онъ, отойдешь,
После все жъ свое возьмешь!!
Муж язычникъ и безъ веры?
Не беда и то: примеры
Есть такiе, что женой
Так направлен мужъ иной,
Что всему готовъ поверить –
Стоит только поманерить.

стр. 84

Рубенсъ очень былъ уменъ:
Все писалъ онъ толстыхъ женъ.
Честь за то ему и слава!

стр. 85


Слушайте: вотъ перекличка
Пассажировъ. Это лордъ,
Англичанинъ, страый чортъ,
Разъезжаетъ ради скуки;

стр. 92

Городъ маленькiй и тесный;
Университетъ известный
Здесь устроенъ, и при немъ
Тутъ же сумасшедшиъ домъ.
Се тре бьенъ… По мне, наука
Преопаснейшая штука!
Забредешь въ ея пути –
Будрено ль съ у ма сойти?
Согласить прошу системы,
Афоризмы, теоремы,
Весь наборъ кудрявыхъ словъ

стр. 92

Но, увы, мамзель принцессъ
Кто-то между темъ увезъ –
Не догнали супостата.

стр. 100


Русскiй, право, мне досаденъ:
Онъ ловчей, виднее всехъ,
А стремится, как на смехъ,
Походить на иностранца –
На француза, итальянца,
Англичанина – сюрту
Въ томъ находитъ красоту.

стр. 116

Сет’эгаль, аранже ву,
А сиди по старшинству.

стр. 121

Ужъ отъ перваго сервиса
Ты раздуешься, какъ крыса,
А ихъ два еще грозятъ
И десертъ.

стр. 122


Но я, бедная мадамъ,
Не привыкшая къ перушке,
Провозилась на подушке
Не могла заснуть никак..

стр. 146

Ужъ такой здесь городочекъ:
Старшный урожай на дочекъ.
Куча здесь невестъ всегда.
Жениховъ-то нетъ, беда!

стр. 150


А быть можетъ, что иной
Просто въ Лондоне портной
Иль сапожниикъ; одна дама
Это все отродье хама
Назвала анъ бабинанъ
Ле милордъ дю континанъ.
Не узнать ихъ здесь по справкамъ;
Тамъ опять они по лавкамъ,
За иголкой, съ утюгомъ
И какъ будто бы ни въ чемъ.

Нетъ!.. У многихъ ничего
Никогда и не болело,
Но имъ дома надоело,
Захотели погулять,
Межъ людьми пощеголять,
Покормить мадамъ рулетку
Или модную кокетку
Проводить сюда къ водамъ,
Как законную мадамъ,
Дальше от супружьихъ взоровъ.

И вотъ этого мораль:
Что не доктора, не воды,
Но одно влеченье моды
Всемъ въ Бадъ-Баденъ кажетъ путь –
Хоть бы лопнуть, да блеснуть!

Но больному тутъ нетъ места:
Часть заквашеннаго теста
Невозможно отделить;
Вместе все должно бродить,
А какъ если не подъ-силу,
Просимъ милости въ могилу.

стр. 163

Куй покуда горяо,
ЧТобъ не вывехнуть плечо.

стр. 182


Харитону любо стало:
Русь ему напоминало!
Снегъ и слякоть! фанатизмъ!
Этакой патриотизмъ
Есть патриотизмъ холопа!
Не завидуетъ Европа
Нашимъ вьюгамъ и снегамъ,

А завидуетъ она,
Что Россiя такъ сильна,
Что народъ такой чудесный,
Духомъ, твердостью известный,
Молодецъ все къ молодцу,
Преданъ такъ царю-отцу

стр. 214

Надъ всемирной политикой
Мы стоимъ гора горой!
Осенивъ ее рукой,
Никого не задеваемъ,
Всемъ имъ здравствовать желаемъ!
Но не тронь оин и насъ,
Иль не сыщется ля плясь,
Где когда-то ихъ видали.
Просто: поминай какъ звали!
Вотъ чем русскiй патрiотъ
Должен дорожить и вотъ
Что такъ беситъ иностранцевъ:
Немцевъ, англичанъ, испанцевъ
И французовъ э ле свись!

стр. 216

Но пронашихъ патрiотовъ
Множество есть анекдотовъ.
Патрiотъ иной у насъ
Закричитъ: “Дю квасъ, дю квасъ,
Дю разсольникъ огуречный!”
Пьетъ и морщится сердечный:
Кисло, солоно, мове,
Ме се рюсь, э ву саве:
Надобно любить родное,
Дескать, даже и такое,
Что не стоитъ и гроша!

стр. 217

Ужъ кто какъ ни говори,
Наши славные цари
Русскiй бытъ всегда любили,
Какъ святыню сохранили
Все обычьи старины;
Но все ими жъ введены
Къ намъ науки и сикусства
Чуждыхъ странъ, и наши чувства
Деликатнее, нежней,
Еще сделались сильней
Къ нашей родине, и ею
Мы гордимся всей душой!

стр. 219

Но, какъ добрая пчела,
Дю полезнаго набравшись,
По цветамъ понагулявшись,
Весь свой сборъ домой несетъ,
Чтобъ составить русскiй медъ.
Оттого чертогъ пчелиный
Былъ эмблемъ Екатерины!
Но иной, – сказать и то, –
Погулялъ, привезъ пальто
И прическу кучерскую,
Я его не критикую, –
Только беднаго мне жаль.
В прочемь иль н’и а па гранъ маль –
И у русскаго народа,
Как въ семье, не безъ урода.

стр. 221

Что затеется, бывало, –
Заводи, во что бъ ни стало!
Засухи, неурожай, –
Нужды нетъ, – ты подражай!
Ле бонъ тонъ къ тому принудитъ.

стр. 223

Щеголь въ пухъ принарядился:
Колье грекъ, бадинъ, лорнетъ,
Стянутъ такъ, что мочи нетъ.
Я подумала: танцмейстер!
Вышло: докторъ, мусье Шлейстеръ,
Философьи кандидатъ,
А теперь гомеопатъ.

стр. 227

Мне курить? Что за манеръ?
Да я разве кавалеръ?

стр. 229

То ли дело – наши рюсъ:
Те знакомятся со всеми,
И оно у нихъ в системъ!
Имъ ужъ всякiй камарадъ
И прiятель; радъ не радъ,
Твечай на их разспорсы:
– “Бабы отчего курносы?
Отчего звонятъ, когда
Отправляются суда?”
Право, иногда досадно!

стр. 245

[further reading]

Николай Бахарев


Надя Зубарева


Reclining Nude
Oil on canvas
21 3/4 x 29 1/8 inches (55.3 x 74 cm)
Private collection

Born in Ferrara, Italy on 31st December 1842, Boldini received his initial training from his father, a painter and restorer. A precocious talent, Boldini attended the Accademia di Belle Arti (Academy of Fine Arts) in Florence in 1862. There he met the circle of Tuscan realist painters, known as the Macchiaioli, developing a particularly close friendship with Telemaco Signorini and Christiano Banti.

During a visit to Paris for the Exposition Universelle in 1867, Boldini was greatly influenced by the paintings of Courbet, Manet and Degas, artists with whom he later established lifelong friendships.

Portrait of Giovanetta Erraruiz
(daughter of Madame Josephina Alvear de Errazuriz)
Oil on canvas
Public collection

Marthe Bibesco,

La marchesa Luisa Casati con penne di pavone (Portrait of the Marquise with peacock), 1914
Galleria d’Arte Moderna, Roma
Oil on canvas, 136 x 186 cm

Spanish dancers at the ‘Moulin Rouge’
Medium: Oil on canvas
Size: 49 1/4 x 40 1/8 in (125.1 x 101.9 cm)


an admiring tranquillity with a subtle touch of modernity… =)

Peaceful Days
Oil on canvas, 1875
14 x 10 inches (35.56 x 25.40 cm)
Sterling and Francine Clark Art Institute, Williamstown

[further reading]

The Courtesan

Van Beers studied at the Ecole des Beaux-Arts d’Anvers, before moving to Paris in 1878, where he worked for a time in the studio of his compatriot, Alfred Stevens. Originally a history painter, van Beers later turned his attention to portraiture and genre scenes. His works can be found in museums in Amsterdam, Anvers, Brussels, Rouen and Madrid.

Oil on Canvas
37.7 x 32.8 in. / 95.8 x 83.2 cm.
Private – Christie’s New York: Thursday, May 27, 1993

Allegory of Winter,

Woman with a Rose, 1881
Oil on Canvas
Stephen M. Foster Fine Arts Gallery
Washington, DC

The Portrait Of Lady In Pink


Полтора века назад, 14 ноября 1854 года, ветер над Черноморским побережьем Крыма внезапно переменил направление с норд-норд-ост на зюйд-вест. Разыгралась небывалая в тех широтах буря, за несколько часов погубившая более тридцати английских, турецких и французских кораблей. Среди них был пароход “Принц”, казалось бы, один из многих. Но именно его название до сих пор будоражит воображение и щекочет нервы сотен авантюристов и искателей сокровищ.

Тогда, осенью 1854 года, на пароходе были сотни тысяч премиальных фунтов стерлингов для армии. Это золото ищут полтора века. Оно превратилось в манящую легенду, а пароход, лежащий на дне Балаклавской бухты, уже давно прозвали “Черным принцем” – за витающий вокруг него ореол тайны.

Официально золото “Черного принца” не найдено до сих пор. Экспедиции по его поиску почти постоянно работают в Балаклаве. Но фильм рассказывает не о том, как сегодня ищут подводные сокровища, а о том, что их уже давно нашли! В 1923 году в ОГПУ (в будущем НКВД) появился секретный отдел, именовавшийся ЭПРОН – Экспедиция подводных работ особого назначения. Авторы фильма на основе документов и свидетельств историков выдвигают сенсационную версию – после 5-ти лет сверхсекретных работ в Балаклавской бухте чекисты-подводники подняли золото “Черного принца”, и оно в начале 30-х превратилось в фабрики, заводы, корабли и пароходы.

Год выпуска: 2006
Страна: Россия
Произведено: ООО “ГолдеМедиум” по заказу ФГУП ГТК “Телеканал “Россия”
Жанр: Документальный фильм
Продолжительность: 43:59
Режиссер: Владислав Арясов

Фильм предполагает после просмотра некий ореол тайны: сокровища все-таки найдены и вырученные деньги идут на поддержку индустриализации. Явная “надуманность” выводов побудила меня закинуть невод в просторы Сети. Недолгий поиск вывел на научно-популярную статью из уважаемого журнала, наглядно объясняющую подлинную историю событий тех лет.


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Sony ST S333ESG – интернациональная (мультивольтажная) версия культового тюнера Sony ST S770ES. Соответственно, 220 вольт, нормальный (не японский) FM – 87.50 – 108.00 МГц АМ – 532 – 1602 кГц

У тюнера 2 антенных входа на FM – причём, что очень удобно, номер антенны забивается в память станции. То есть, если скажем Радио Джаз у вас лучше ловится на кусок проволоки, а Релакс ФМ на внешнюю антенну (мой тяжёлый случай), то при настройке тюнер сам запомнит нужную антенну и при переключении каналов вам не надо будет с бубном бегать вокруг стойки, перетыкая антенные кабеля.
Что ещё – шикарный строгий дизайн, второстепенные кнопки спрятаны под крышкой под дисплеем. Для любителей писать с эфира есть генератор калибровочного тона, отключаемый МРХ фильтр. Отключаемая глушилка помех, трёхпозиционный переключатель полосы на FM – не только традиционные моно и стерео, но и HI-BLEND – позволяющая вести немного ужатый по ширине стереобазы стереоприём в условиях плохого сигнала и/или помех, что по-любому лучше, чем просто моно, а в условиях мегаполиса иногда просто неоценимо.
Продвинутая схема, отработанная на предыдущих моделях.
ДЛЯ ЛЮБИТЕЛЕЙ ЧИСТОТЫ ТРАКТА – все сервосхемы (SST (Super Sound Tracing), WOIS (Wave Optimized IF System), WODD (Wave Optimized Direct Decoder), WODSD (Wave Optimized Digital Stereo Decoder), AMSO, Direct Comparator – см. блок схему в картинках) работают ТОЛЬКО при смене частоты или помехах – когда тюнер принимает станцию, они отключаются, о чём свидетельствует индикатор PURE CIRCUIT слева вверху от ручки настройки.


Размеры: 430Х96Х372 мм
Вес 7.0 кг

30 памятей
До 4 программ таймера

Чувствительность 0.9μV/10.3dBf

Искажения: mono:0.004% stereo:0.0075%

Эффетивная избирательность: wide:70dB(400kHz) narrow:65dB(300kHz)

Неравномерность АЧХ 15Hz~15kHz +0.2 -0.5dB

Сигнал/шум: mono:100dB stereo:92dB

Разделение каналов: wide: 70dB

К европейской (770) и интернациональной (333ESG) пульт в комплекте не шел, управляется по шине от любого компонента Sony или если руки не кривые можете просто впаять стандартный 5-ти вольтовый ИК-приёмник в плату передней панели – всё остальное внутри есть.


Female nude seated
Black crayon
Private, New York

There were many “ladies’ painters” in those days, skilled craftsmen of the art of painting and willing flatterers of the tastes of the upper middle class … Renoir, who had to live on his art, did not always manage to escape the danger of superficiality in his portraits. He was quite capable of painting a brilliant picture of gleaming silk and velvet, but he never did so unless his heart was in it, and so his natural naivety protected him from the false glitter of the fashionable. He would observe real life rather than studied poses, and his painting were a celebration of the freshmess nad beauty of simple, unspoilt image.

Young woman with a Veil
1875, Oil on canvas
Musee de Louvre, Paris, France

For Renoir neither black nor white were dead colours that always stayed the same. On the contrary, he knew how to make black come to life. Black was very common in people’s dresses ффе the time, and Renoir often managed to bring this colour into its own by mixing red or blue into it. Quoting Tintoretto as his authority, he even used to call black the queen of colours.

The Swing
1876, Oil on canvas
H: 73cm; W: 92cm
Musee d’Orsay, Paris, France

The Umbrellas
1883, Oil on canvas
H: 115cm; W: 180cm
The National Gallery, London, UK

He[Renoir] saw girls and women as exclusively animal-like creatures that were mainly guided by their instincts. It was a dominant view in contemporary society that women were generally less intelligent and more instinctive creatures. … His girls are endowed with no more “soul” than their bodies are able to express. They are without spirit or intellect or even the awareness that they form part of the society at large. In their abundant sumptuousness, they were like beautiful animals for him, or like fruits or flowers.

La Loge
1874, Oil on canvas
H: 63cm; W: 80cm
Courtauld Institute Galleries, London, UK

“Nature leads the artist into loneliness; I want to remain among people.”

The First Outing
1877, Oil on canvas
H: 50cm; W: 65cm
The National Gallery, London, UK


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