– Âî âðåìåíà ñðåäíåâåêîâûõ áîãîñëîâîâ è Äàíòå âåðóþùèå çíàëè, ÷òî åñëè áóäóò f ñåáÿ ïðàâèëüíî, òî ïîñëå êîí÷èíû ïîïàäóò â ðàé, ãäå àíãåëû è âå÷íîå áëàæåíñòâî, à åñëè íàîáîðîò – â àä, ñî ñêîâîðîäêàìè, êîòëàìè ñî ñìîëîé è ÷åðòÿìè. Èçìåíèëîñü ëè ÷òî-ëèáî ñ òåõ ïîð?
Ñîâðåìåííîå áîãîñëîâèå ðàññìàòðèâàåò çàãðîáíóþ æèçíü êàê íå÷òî îáúåêòèâíî ñóùåñòâóþùåå, èëè âñ¸ æå êàê íåêóþ àëëåãîðèþ?
– Áîãîñëîâèå áûâàåò ðàçíîå. Ëèáåðàëüíûå òå÷åíèÿ ïðîòåñòàíòèçìà, ìîãóò ðàññìàòðèâàòü âå÷íóþ æèçíü è êàê àëëåãîðèþ, íî â òðàäèöèîííûõ ïðàâîñëàâíûõ âçãëÿäàõ íà ýòîò ñ÷¸ò íå ïîìåíÿëîñü íè÷åãî.
Òîëüêî ñêîëüêî ÿ íè ÷èòàë ñâÿòûõ îòöîâ, íèãäå òàì î ñêîâîðîäêàõ ðå÷è íå èä¸ò. Ìîæåò, â ñõîëàñòè÷åñêîì êàòîëè÷åñêîì ñðåäíåâåêîâîì áîãîñëîâèè òàêèå îáðàçû è ïðèâîäèëèñü, äëÿ óïðîùåíèÿ. Íî ñõîëàñòè÷åñêîå áîãîñëîâèå ñïåöèàëüíî óïðîùàëî âñ¸ äî ïðèìèòèâèçìà, ÷òîáû ñòàëî ïîíÿòíî äàæå ñàìîìó íåîáðàçîâàííîìó ÷åëîâåêó.
Ñâÿòîîòå÷åñêîå áîãîñëîâèå èçíà÷àëüíî ôîðìèðîâàëîñü äëÿ ëþäåé îïðåäåë¸ííîé êóëüòóðû, íî â ñðåäíåâåêîâüå îáùèé óðîâåíü îáðàçîâàíèÿ çíà÷èòåëüíî ïîíèçèëñÿ, è ãîâîðèòü ñ ëþäüìè,
Òàê òðîíóë ìåíÿ ýòîò ðàññêàç... , âîçìîæíî óæå íàñòóïàþò ÂÐÅÌÅÍÀ, êîãäà è íàì íåîáõîäèìî áóäåò ñäåëàòü ñâîé âûáîð.
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Hans Eworth (circa 1520 –1574?)
Portrait of a woman, aged sixteen, previously identified as Mary Fitzalan, Duchess of Norfolk, 1565
1565
oil on panel 889 mm õ 711 mm
Yale Center for British Art


Ãåðàðòñ, Ìàðêóñ II (àòð.)
Ïîðòðåò ëåäè
Òåéò Áðèòàí Ëîíäîí

after George Gower
Mary Kytson, Lady Darcy
1583 (1700 copy of 1583 original)
(auctioned by Sotheby's)


THE KING OF POLAND AND GRAND DUKE OF LITHUANIA STANISLAS AUGUST PONIATOWSKI


ab. 1579-1580 Bartolomeo Passarotti
Portrait of Lope Varona di Villanahue of Burgos
(Sotheby’s)


ab. 1613-1620 Michiel Jansz. van Mierevelt
Maurice of Nassau, Prince of Orange
(Rijksmuseum)



William Larkin (1580–1619)
Portrait of Diana Cecil later Countess of Oxford
circa 1614
oil on canvas
Kenwood House Suffolk Collection


William Larkin (1580–1619)
Edward Sackville, later 4th Earl of Dorset
1613
Oil on canvas
206.6 x 122.6 cm
Kenwood House Suffolk Collection


William Larkin (1580–1619)
Probably Elizabeth Cary, née Tanfield, (1585-1639) later Vicountess Falkland
between circa 1614-1618
Kenwood House Suffolk Collection



Àíòîíèñ Ìîð
Êîðîëåâà Àííà Èñïàíñêàÿ
1570. 161õ110.
Ìóçåé èñòîðèè èñêóññòâ


Circle of Antonis Mor (Utrecht 1516/20-?1576 Antwerp)
Portrait of Philip II of Spain (1527-1598)
oil on canvas, laid down on panel
37.2 x 27.7 cm.



English School, probably 16th Century
Portrait of King Henry VIII (1491-1547), bust-length, in a fur-lined cloak and gold-brocade doublet, with a chain and feathered black hat
oil on panel, marouflaged
17.5/8 x 14¾ in. (44.7 x 37.5 cm.)


Bernhard Strigel (Memmingen 1460-1528)
Portrait of Maximilian I, Holy Roman Emperor (1459-1519),
oil on panel, marouflaged
21 5/8 x 15 in. (55 x 38 cm.)


Manner of Alessandro Filipepi, called Sandro Botticelli
Portrait of a young man, bust-length, possibly Piero Lorenzo de' Medici (1492-1519,
oil on panel, unframed
17.3/8 x 14¼ in. (44.1 x 36.1 cm.)


After Frans Pourbus II
Portrait of Maria de Medici (1573-1642), Queen Consort of France,
oil on canvas laid down on board
40¼ x 30 in. (102 x 76.2 cm.)


William Larkin (London c. 1585-1619)
Portrait of a lady
oil on panel
22 5/8 x 17 ½ in. (57.5 x 44.4 cm.)


16th century, probably France
Portrait of a woman in red dress
(Nantes Museum of Arts)



Attributed to Joseph Wright of Derby, A.R.A (Derby 1734-1797)
Portrait of a lady, three-quarter-length, seated in a blue satin jewelled dress with lace sleeves and collar, with a pug dog


Jacob Ferdinand Voet (Antwerp 1639-1689 Paris)
Portrait of Philippe, Duc de Vendôme (1655-1727), Grand Prior of the Knights of Malta in France, bust-length, in a feigned oval
oil on canvas
28¾ X 23½ in. (73 x 59.7 cm.)


Circle of Pierre Mignard (Troyes 1612-1695 Paris)
Portrait of Marie-Thérèse de Bourbon, Princesse de Conti (1666-1732),


Âåñ¸ëûé (ïîýìà Ìèëüòîíà)
(L'Allegro)
1845_81.6 õ 121.9_õ.,ì.
Ëîñ-Àíäæåëåñ, Ìóçåé èñêóññòâ îêðóãà Ëîñ-Àíäæåëåñ

Âåñ¸ëûé (ïîýìà Ìèëüòîíà) (äåòàëü)
(L'Allegro)
1845_81.6 õ 121.9_õ.,ì.
Ëîñ-Àíäæåëåñ, Ìóçåé èñêóññòâ îêðóãà Ëîñ-Àíäæåëåñ


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Äæîâàííè Ïàîëî Ïàíèíè
Ïðåäñòàâëåíèå â òåàòðå Àðäæåíòèíà, äàííîå êàðäèíàëîì Ðîøôóêî 15 èþëÿ 1747 ãîäà ïî ñëó÷àþ áðàêîñî÷åòàíèÿ äîôèíà Ëþäîâèêà XV ñ Ìàðèåé Æîçåôèíîé Ñàêñîíñêîé

Äæîâàííè Ïàîëî Ïàíèíè
Êàïðè÷÷î ñ ðèìñêèìè ðóèíàìè
89õ120, ÷àñòíîå ñîáðàíèå
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Äæîâàííè Ïàîëî Ïàíèíè
Èíòåðüåð ñîáîðà ñâÿòîãî Ïåòðà â Ðèìå
1750, 132õ145,
Èíñòèòóò èñêóññòâ Äåòðîéò
Äæîâàííè Ïàîëî Ïàíèíè (Giovanni Paolo Panini; 17 èþíÿ 1691, Ïüÿ÷åíöà — 21 îêòÿáðÿ 1765, Ðèì) — èòàëüÿíñêèé õóäîæíèê è çîä÷èé, èçâåñòíûé ñâîèìè ðàáîòàìè â æàíðå ãîðîäñêîãî ïåéçàæà — «âåäóòû» (ñ èòàë. — «âèäåííàÿ»)

Äæîâàííè Ïàîëî Ïàíèíè
Ãåðìåñ, íàïðàâëÿþùèéñÿ ê Êàëèïñî
îê 1719, 129õ163,
ìóçåé Ðèíãëèíãà, Ñàðàñîòà

Follower of Giovanni Paolo Panini
A CAPRICCIO OF A MEDITERRANEAN HARBOUR SCENE
oil on copper
50.8 by 61 cm.
Äæîâàííè Ïàîëî Ïàíèíè
Ïàíòåîí è äðóãèå ìîíóìåíòû (Ðèìñêîå êàïðè÷÷î)
Ìóçåé èñêóññòâ, Èíäèàíàïîëèñ
(Museum of Arts, Indianapolis).
 þíîøåñòâå Ïàíèíè ó÷èëñÿ â ñâî¸ì ðîäíîì ãîðîäå Ïüÿ÷åíöå ó Äæóçåïïå Íàòàëè è Àíäðåà Ãàëóööè, çàòåì ñîâåðøåíñòâîâàë ìàñòåðñòâî ó Ôðàí÷åñêî Ãàëëè-Áèáüåíà.  1711 îí ïåðååõàë â Ðèì, ãäå îáó÷àëñÿ õóäîæåñòâåííîìó ðèñóíêó ó Áåíåäåòòî Ëóòè è ðàáîòàë íàä óáðàíñòâîì òàêèõ ðåçèäåíöèé, êàê âèëëà Ïàòðèööè (1719—1725) è ïàëàööî Ëèâèî äå Êàðîëèñà (1720), à òàêæå Ðèìñêàÿ ñåìèíàðèÿ

Giovanni Paolo Pannini
Gallery of Views of Modern Rome
1759._Oil on canvas, 231 x 303 cm.
Musée du Louvre, Paris



Circle of Justus Sustermans (Antwerp 1597-1681 Florence)
Portrait of a gentleman, bust-length, in a breastplate with a grey wrap, and a feathered hat
Christie’s


Justus Sustermans (1597–1681)
Català: Leonor de Màntua (Detail)
between 1600 and 1681
Biblioteca Museu Víctor Balaguer


Justus Sustermans (1597–1681)
Bildnis des Großherzogs Ferdinand II. de' Medici von Toskana
17th century
oil on canvas 89.9 cm õ 73 cm

Þñòóñ Ñþñòåðìàíñ
Âèòòîðèÿ äåëëà Ðîâåðå (1622-95), Âåëèêàÿ êíÿãèíÿ Òîñêàíû
õîëñò, ìàñëî
Õóäîæåñòâåííàÿ ãàëåðåÿ, Ãàìáóðã
(Hamburger Kunsthalle, Hamburg).

Àìåðèêàíöû ìàññîâî ñóäÿòñÿ ñ Monsanto
Íàñåëåíèå ÑØÀ çàðàæàåòñÿ ðàêîì ñ ïîìîùüþ ãåðáèöèäà Ðàóíäàï
Îäèí èç ãëàâíûõ ïðîèçâîäèòåëåé ãåííî-ìîäèôèöèðîâàííîãî çåðíà è ãåðáèöèäîâ â ìèðå, òðàíñíàöèîíàëüíàÿ êîìïàíèÿ Bayer-Monsanto ñòàëà ôèãóðàíòîì ãðàíäèîçíîãî ñêàíäàëà. Ïîñëå òîãî, êàê ñóä ÑØÀ è ðÿäà äðóãèõ ñòðàí äîêàçàë, ÷òî âíåäðÿåìûé «Ìîíñàíòî» ãåðáèöèä Roundup âûçûâàåò îíêîëîãè÷åñêèå çàáîëåâàíèÿ, æèòåëè ÑØÀ è ðÿäà äðóãèõ ñòðàí ñòàëè ïðåäúÿâëÿòü êîìïàíèè òûñÿ÷è èñêîâ íà ìèëëèàðäû äîëëàðîâ. Áîëåå òîãî, òåïåðü è Âüåòíàì, ïîäâåðãøèéñÿ àìåðèêàíñêîé àãðåññèè â 1960-1970-õ ãã, òðåáóåò îò ÑØÀ êîìïåíñàöèè çà ïðèìåíåíèå õèìè÷åñêîãî îðóæèÿ Îðàíæ, ïî ñóòè òîãî æå ðàóíäàïà, êîòîðûé ïîâëåê ãèáåëü äåñÿòêîâ, åñëè íå ñîòåí òûñÿ÷ ëþäåé è óíè÷òîæåíèå òðîïè÷åñêèõ ëåñîâ. Ïðåêðàñíî ñåáÿ ÷óâñòâóåò Bayer-Monsanto ðàçâå ÷òî â Ðîññèè, ãäå áóøóåò íàñòîÿùàÿ ýïèäåìèÿ îíêîçàáîëåâàíèé ïî «íåèçâåñòíûì ïðè÷èíàì».
Ïî äàííûì ÑÌÈ, â îäíèõ òîëüêî ÑØÀ êîëè÷åñòâî ïîäàííûõ èñêîâ ïðîòèâ Bayer (ýòà êîðïîðàöèÿ íåäàâíî êóïèëà Monsanto) ïî ïîâîäó çàáîëåâàíèÿ ðàêîì èç-çà ãëèôîñàòíûõ ãåðáèöèäîâ óæå äîñòèãëî 8000. Ðàíåå Bayer ñîîáùàë î 5200 ïîäîáíûõ èñêàõ ïðîòèâ Monsanto, êîòîðûå îí «ïîëó÷èë â íàñëåäñòâî» ïîñëå çàâåðøåíèÿ â èþíå ñäåëêè ïî ïîêóïêå àìåðèêàíñêîé êîðïîðàöèè çà $63 ìèëëèàðäà. Îá ýòîì ñîîáùàåò Ðóññêîå àãåíñòâî íîâîñòåé.
Ìàññîâûå èñêè ïîøëè ïîñëå òîãî, êàê êîìïàíèÿ Monsanto ïðîèãðàëà äåëî â îêðóæíîì ñóäå Ñàí-Ôðàíöèñêî è òåïåðü áóäåò îáÿçàíà âûïëàòèòü øòðàô â $289 ìëí øêîëüíîìó ñàäîâíèêó Äèóýéíó Äæîíñîíó, èñïîëüçîâàâøåìó ãåðáèöèä Roundup è äîêàçàâøåìó, ÷òî çàáîëåë èç-çà ýòîãî ðàêîì. Ó Äæîíñîíà â 2014 ãîäó îáíàðóæèëè íåõîäæêèíñêóþ ëèìôîìó. Îí ïîëüçîâàëñÿ Roundup äîëãèå ãîäû è íåñêîëüêî ðàç ïî íåîñòîðîæíîñòè ïðîëèâàë âåùåñòâî íà ñåáÿ. 10 àâãóñòà ïðèñÿæíûå ïðèçíàëè, ÷òî ãëèôîñàò, âõîäÿùèé â ñîñòàâ ãåðáèöèäà, âûçûâàåò ðàê, è ñî÷ëè äåéñòâèÿ êîìïàíèè ïî ñîêðûòèþ ýòîãî ôàêòà çëîíàìåðåííûìè.
Þñòóñ Ñóñòåðìàíñ (íèäåðë. Justus Sustermans, èòàë. Giusto Sustermans) (1597, Àíòâåðïåí — 1681, Ôëîðåíöèÿ) — ôëàìàíäñêèé æèâîïèñåö ýïîõè áàðîêêî

Þñòóñ Ñþñòåðìàíñ
Ýëåîíîðà Ãîíçàãà â ñâàäåáíîì ïëàòüå
Eleonora Gonzaga in her wedding dress
1621. 188õ125.
Ìóçåé èñòîðèè èñêóññòâ

Studio of Justus Sustermans
Antwerp 1597-1681 Florence
PORTRAIT OF COSIMO DE'MEDICI III (1642-1723), AGED ONE YEAR OLD, FULL LENGTH, HOLDING A PLUMED HAT, WITH HIS HAND RESTING ON HIS SWORD
inscribed and dated along the upper edge: COSIMO.DI.MEDICI.PRENINO.DI.TOSCANA.ET.DI / MESI 13 1643
oil on canvas
93.5 by 72 cm.


Þñòóñ Ñþñòåðìàíñ (1597–1681)
Ýðöãåðöîãèíÿ Àííà äå Ìåäè÷è ñ ñîáà÷êîé
(Anna de' Medici, wife of archduke Ferdinand Charles of Austria)
circa 1630
oil on canvas 129 cm õ 100 cm
Ìóçåé èñòîðèè èñêóññòâ
Kunsthistorisches Museum

Ñóñòåðìàíñ ðîäèëñÿ â 1597 ãîäó â Àíòâåðïåíå è çäåñü æå ñ ðàííèõ ëåò íà÷àë ó÷èòüñÿ æèâîïèñè. Ïðåäïîëàãàþò, ÷òî åãî ó÷èòåëÿìè áûëè Âèëëåì äå Âîñ (ïëåìÿííèê æèâîïèñöà Ìàðòèíà äå Âîñà) è Ôðàíñ Ïîóðáóñ Ìëàäøèé. Íå èñêëþ÷åíî, ÷òî ñ 1616 ãîäà Ñóñòåðìàíñ îáó÷àëñÿ â Ïàðèæå

Justus Sustermans
Portrait of Margherita de' Medici, duchess of Parma
17th century

lomovolga
Þñòóñ Ñóñòåðìàíñ (íèäåðë. Justus Sustermans, èòàë. Giusto Sustermans) (1597, Àíòâåðïåí — 1681, Ôëîðåíöèÿ) — ôëàìàíäñêèé æèâîïèñåö ýïîõè áàðîêêî
Þñòóñ Ñþñòåðìàíñ
Ýëåîíîðà Ãîíçàãà â ñâàäåáíîì ïëàòüå
Eleonora Gonzaga in her wedding dress
1621. 188õ125.
Ìóçåé èñòîðèè èñêóññòâ
Studio of Justus Sustermans
Antwerp 1597-1681 Florence
PORTRAIT OF COSIMO DE'MEDICI III (1642-1723), AGED ONE YEAR

Äæîâàííè Áàòòèñòà Ìîðîíè, òàêæå Äæàìáàòòèñòà Ìîðîíè (èòàë. Giovanni Battista Moroni, îê.1522, Àëüáèíî, ïðîâèíöèÿ Áåðãàìî – 5 ôåâðàëÿ 1578, Áåðãàìî) – èòàëüÿíñêèé õóäîæíèê, îäèí èç êðóïíåéøèõ ïîðòðåòèñòîâ XVI â.
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Giovanni Batista Moroni
Portrait of a Woman with a Fan
1570-1578


1560 Giovanni Battista Moroni
Portrait of Prospero Alessandri


1564-1570 Giovanni Battista Moroni
Portrait of a Young Woman

Êîãäà â äåòñòâå ìû ñòàëêèâàåìñÿ ñ òðóäíîñòÿìè è îïàñíîñòÿìè, ìû âåðèì, ÷òî âçðîñëûå âñåãäà íàéäóò âûõîä èç ïîëîæåíèÿ, ïîòîìó ÷òî îíè ñòàðøå è óìíåå. Êîãäà ìû ñòàíîâèìñÿ ñòàðøå, ìû âåðèì âî âëàñòü - òàì, â Êðåìëå, âñþ íî÷ü ãîðèò ëàìïà, è Öàðü, Âîæäü, Ãåíñåê èëè Ïðåçèäåíò çíàåò âñ¸ òî, ÷òî íå çíàåì ìû, îñâåäîìë¸í îáî âñåõ îïàñíîñòÿõ è óãðîçàõ, çíàåò, êàê íà íèõ ðåàãèðîâàòü, è ñòðàíà ìîæåò ñïàòü ñïîêîéíî.
Êîãäà ìû ñòàíîâèìñÿ âçðîñëûìè, ìíîãèå èç íàñ íà÷èíàþò ïîíèìàòü, ÷òî âñå íå òàê ïðîñòî. ×òî ðîäèòåëè â íàøåì äåòñòâå ñàìè áûëè ìîëîäûìè è íàèâíûìè, äåëàëè ãëóïåéøèå îøèáêè, è âîîáùå æèâûìè ìû îñòàëèñü òîëüêî êàêèì-òî ÷óäîì. Ïîñëå îêîí÷àíèÿ èíñòèòóòà ìû ïîíèìàåì, ÷òî âçðîñëûå âîîáùå-òî íå ñàìàÿ óìíàÿ ÷àñòü ÷åëîâå÷åñòâà. Âñå ñàìûå ñòðàøíûå ãëóïîñòè ñäåëàíû èìåííî âçðîñëûìè, à íå äåòüìè. È äîáðàâøèñü äî êàêèõ-òî äàæå íåáîëüøèõ ðóêîâîäÿùèõ ïîñòîâ, ìû ñ óæàñîì âäðóã ïîíèìàåì: à çíà÷èòåëüíàÿ ÷àñòü ýëèòû, îêàçûâàåòñÿ, òîãî. Íåàäåêâàòíà – êàê áû ýòî ïîìÿã÷å ñêàçàòü.
Ñóäÿ ïî òîìó, êàêèå óæàñíûå îøèáêè äåëàþò åå ïðåäñòàâèòåëè, âîîáùå íåïîíÿòíî, êàê îíè äîñòèãëè ñâîèõ ïîñòîâ è áîãàòñòâ. Òàêîå âïå÷àòëåíèå, ÷òî äëÿ äîñòèæåíèÿ áîãàòñòâà è êàðüåðíûõ âûñîò óì íóæåí ÷óòü ëè íå â ïîñëåäíþþ î÷åðåäü. È íàîáîðîò – óì è ïîðÿäî÷íîñòü òîëüêî ìåøàåò â áèòâå çà âëàñòü è äåíåæíûå çíàêè. È âîçíèêàåò ñòðàøíûé âîïðîñ: "À êòî æå íàìè ðóêîâîäèò?"
Ïîñëå ýòîãî ïðîçðåíèÿ îñòà¸òñÿ îòâåòèòü íà äâà ïðîñòûõ âîïðîñà "Êòî âèíîâàò?" è "×òî äåëàòü?", è òàê êàê ñ îòâåòîì íà ýòè âîïðîñû çàäåðæåê íèêîãäà íå âîçíèêàåò, òî â ðåçóëüòàòå ðåôîðì îäíè èäèîòû ïðèõîäÿò íà ñìåíó äðóãèì è, êàê ãîâîðèëè åù¸ â äðåâíåé Âèçàíòèè: "Ñ öàð¸ì âñåãäà áûâàåò äâà âàðèàíòà: èëè ïîâåç¸ò, èëè íåò". Íî åñëè äàæå ïîâåç¸ò ñ öàð¸ì, íå ôàêò, ÷òî ïîâåç¸ò ñ ÷åëÿäüþ. Ñ àðèñòîêðàòèåé. Èëè êàê ñåé÷àñ ãîâîðÿò - ñ ýëèòîé.
Ýòà ýëèòà òîëüêî è äåëàåò, ÷òî âûðîæäàåòñÿ. Åñëè, êàê øóòèë Æâàíåöêèé, ÷òî ñ ÷åëîâåêîì íè äåëàé, îí óïðÿìî ïîëç¸ò íà êëàäáèùå, òî âîçãëàâëÿåò ýòó ïðîöåññèþ ýëèòà. Îíà âûðîæäàåòñÿ ïåðâîé è èç-çà íå¸ ñòðàäàþò âñå îñòàëüíûå.
Ëþäè ïîòðÿñåíû, óñëûøàâ Äåðèïàñêó â ïðÿìîì ýôèðå, êàê òàêîé ÷åëîâåê ñìîã äîáðàòüñÿ äî ìèëëèàðäîâ. Îíè íå ïîíèìàþò, óñëûøàâ Àáðàìîâè÷à, çà ñ÷¸ò ÷åãî òîò ñòàë òàê áîãàò. Îíè ïðîñòî îòêàçûâàþòñÿ âåðèòü â ýëèòó, ãëÿäÿ íà Åëüöèíà, Êîçûðåâà, Øóìåéêî, Ðûáêèíà, ×åðíîìûðäèíà. Äîëãî íàðîä ïûòàëñÿ íàéòè óì ó Áåðåçîâñêîãî, íî íè÷åãî óìíîãî íå íàø¸ë. Íè â ñëîâàõ, íè â äåëàõ. Òî, ÷òî áûëî ó âñåõ ýòèõ ëþäåé â èçáûòêå, áûëî ÷åì óãîäíî, íî òîëüêî íå óìîì. È ïîíÿë íàðîä - â øêîëàõ èõ ó÷àò ñîâñåì íå òîìó, ÷òî íóæíî â æèçíè äëÿ óñïåõà.
 æèçíè êàê-òî òàê âûøëî, ÷òî å¸ õîçÿåâàìè ñòàëè â÷åðàøíèå òðîå÷íèêè. Ëþáîé âå÷åð âñòðå÷è âûïóñêíèêîâ ýòî ïîäòâåðæäàåò. À õîðîøèñòû è îòëè÷íèêè, íàîáîðîò, âñþ æèçíü ðàáîòàëè íà ýòèõ âîò õîçÿåâ, êîòîðûå íà êîíòðîëüíûõ ïðîñèëè äàòü ñïèñàòü è íå âûëåçàëè èç ïðèâîäîâ â ìèëèöèþ, à ñåé÷àñ âäðóã ñòàëè áèçíåñìåíàìè è äåïóòàòàìè. Îòëè÷íèêè ó÷èëèñü - è òàê íè÷åãî è íå äîáèëèñü. Ïðàâäà, áûëè èç îòëè÷íèêîâ íåêîòîðûå óíèêóìû - îíè ñìîãëè â Ìîñêâå âûó÷èòüñÿ è ñòàòü îëèãàðõàìè, íî âñ¸-òàêè íå ïîíÿòíî - à çà ÷òî æå èì ïÿò¸ðêè ñòàâèëè? Âðîäå, ÷òîáû êðàñòü è êèäàòü áîëüøîãî óìà íå íàäî...
È ïîø¸ë íàðîä íà òðåíèíãè ðàçíûå. Ëè÷íîñòíîãî ðîñòà è âñ¸ òàêîå ïðî÷åå. Ãäå ëîâêèå ïðîõèíäåè îòíèìàëè ó íèõ äåíüãè, ðàññêàçûâàÿ î ôîðìóëàõ óñïåõà, îáó÷àÿ íà ñàìîì äåëå îáûêíîâåííîé íàãëîñòè è îòñóòñòâèþ ñòûäà, ñîâåñòè, óìåíèþ âðàòü è ëèöåìåðèòü, ñêðûâàòü ïðåçðåíèå è êóëüòèâèðîâàòü ýãîèçì – òî åñòü âñåìó òîìó, ÷òî â Ðîññèè îáðàçîâàííûé ÷åëîâåê âñåãäà ñ÷èòàë ïîçîðîì è ïðèçíàêîì îòñóòñòâèÿ óìà,


Ñåðèÿ ñîîáùåíèé "Ðåëèãèÿ. Äëÿ îñìûñëåíèÿ.":
×àñòü 1 - ÄËß ÎÑÌÛÑËÅÍÈß.
×àñòü 2 - Äóõîâíûé ìèð ÷åëîâåêà.
×àñòü 3 - Äëÿ îñìûñëåíèÿ.

Jan Anthonisz. van Ravesteyn 1570-1657)
Portrait of a lady, three-quarter length, in a black slashed silk dress with lace collar and cuffs, a fan in her right hand


Attributed to Jan Antonisz. van Ravesteyn (1572-1657)
Portrait of a civic guard, half-length, in a buff coat and a gorget, with a white lace collar and a white silk sash


Jan Anthonisz. van Ravesteyn
Memorietafel van Adriaen van Maeusyenbroeck en Anna Elant (DETAIL)
1618
Museum Catharijneconvent
