Скачественным переводом. the most accomplished and the most influential english painter of the eighteenth century was thomas gainsborough. until 1774 gainsborough painted landscapes and portraits in various provincial centres before settling in london for the last fourteen years of his life. although the elegant attenuation of his lords and ladies is indebted to his study of van dyck, gainsborough achieved in his full-length portraits a freshness and lyric grace all his own. occasional objections to the lack of structure in his weightless figures are swept away by the beauty of his colour and the delicacy of his touch. the figure in mary countess howe, painted in the mid-1760s, is exquisitely posed in front of a landscape background. gainsborough has expended his ability on the soft shimmer of light over the embroidered organdy of her overdress and cascades of lace at her elbows, sparkling in the soft english air; the only solid accents in the picture are her penetrating eyes. although gainsboroughwas country-born, his landscape elements seem artificial, added like bits of scenery to establish a spatial environment for the exquisite play of colour in the figure. in later life gainsborough painted more freely and openly. although his landscapes, which he preferred to his portraits, exhale a typically english freshness, they were painted in the studio on the basis of small models put together from moss and pebbles. constructed in the grand manner of hobbema, a seventeenth-century dutch master, and painted with soft strokes of wash like those of watteau, the market cart, of 1787, shows an almost rhapsodic abandonment to the mood of nature, which led to the great english landscapists of the early nineteenth century. constable said that gainsborough's landscape moved him to tears, and contemplating the freedom and beauty of the painting of the cart and a boy gathering brushwood, not to speak of the glow of light seeming to come from within the tree in the centre, one can understand why

Самый совершенный и самый влиятельный английский художник восемнадцатого века был Томас Гейнсборо. До 1774 года Гейнсборо не писал пейзажи и портреты в различных провинциальных центрах, прежде чем остановиться в Лондоне за последние четырнадцать лет своей жизни. Несмотря на то, элегантное ослабление его дам и господ обязан своему исследованию Ван Дейка, Гейнсборо достигается в его полнометражный портреты свежесть и лирическую благодать всю свою собственную. Местами возражения против отсутствия структуры в его невесомые фигуры уносятся красотой его цвета и тонкость его прикосновения. Фигура в Марии графини Howe, окрашенные в середине 1760-х, изящно поставлена ​​перед пейзажного фона. Гейнсборо израсходовал свою на мягкое мерцание света над вышитой органди ее верхней одежды и каскады кружев на локтях, сверкающие в мягком английском воздухе; только твердые акценты в картине являются ее проницательные глаза. Хотя Gainsboroughwas страна происхождения, его элементы ландшафта, кажется искусственным, добавляют как кусочки пейзажа, чтобы установить пространственную среду для изысканной игрой цвета на рисунке.

В дальнейшей жизни Гейнсборо окрашены более свободно и открыто. Хотя его пейзажи, которые он предпочел его портреты, выдохнуть типично английской свежести, они были написаны в студии на основе небольших моделей, вместе взятые из мха и гальки. Построенный в грандиозной манере Хоббемы, голландского мастера семнадцатого века, и окрашены с мягкими мазками стирке, как у Ватто, рыночной корзину, 1787, показывает почти восторженный оставление настроению природы, что привело к большой английский пейзажисты начала девятнадцатого века.

Констебль сказал, что пейзаж Гейнсборо переехал его до слез, и созерцая свободу и красоту картины тележки и мальчика сбора хвороста, не говоря уже о лучах света кажущейся исходить изнутри деревом в центре, можно понять, Зачем

Medieval castle at the mere mention of which every educated person is created in the imagination of a familiar pattern, and every tolerated by the idea in the era of tournaments and the Crusades, has its own history. The castle with its famous toiletries - lift bridges, towers and battlements - appeared not at once. Scientists, researchers, dedicating his work on the origin and development of the castle structures, noted several times in this story, of which the most interesting is the time of the earliest: to the extent the initial locks are not like castles subsequent time, But with all the diversity that exists between them, it is easy to find, and similar features, it is easy in the original castle to see hints of later constructions. The ability to find these initial forms and reports question the interest of which we have just spoken.

The devastating raids of the enemy encouraged to build such fortifications, which could serve as a reliable shelter. First castles was the earthen trenches more or less extensive in size, surrounded by a moat and topped by a wooden palisade. As such, they resembled the Roman camp, and this similarity, of course, was not mere coincidence; there is no doubt that these first fortifications were organized on the model of the Roman camps. In the center of the last rose tent commander, or the courtyard of the Praetorium (praetorium), and in the middle of the space, semiquavers castle shaft, climbed natural or, for the most part, artificial earth rise conical shape {la motte). Usually this nassi was built a wooden structure, the door of which was at the top of the mound. Inside the mound was arranged progress in the dungeon with a well. Thus, to get in this wooden structure could only be climbing on the mound. For the convenience of the inhabitants were organized something like a wooden platform, running on props; in case of need it is easily understood, making the enemy who had penetrated into the dwelling itself, met serious obstacle. After mirovaniya danger disassembled parts as easily cited in the previous state. If we, without going into the details, let us imagine only the big picture, which, as we previously mentioned, arises in the mind of any educated person at the mere mention of the castle, if we this General picture is comparable with just described original castle, with all the diversity we both without much exertion will find and common features.

A significant part of the medieval knight's castle is obvious, this unpretentious the construction of the house on earthen mounds corresponds to the main castle tower, demountable descent - draw-bridge, shaft and a palisade - toothed wall

later the castle.

Medieval castle at the mere mention of which every educated person is created in the imagination of a familiar pattern, and every tolerated by the idea in the era of tournaments and the Crusades, has its own history. The castle with its famous toiletries - lift bridges, towers and battlements - appeared not at once. Scientists, researchers, dedicating his work on the origin and development of the castle structures, noted several times in this story, of which the most interesting is the time of the earliest: to the extent the initial locks are not like castles subsequent time, But with all the diversity that exists between them, it is easy to find, and similar features, it is easy in the original castle to see hints of later constructions. The ability to find these initial forms and reports question the interest of which we have just spoken.

The devastating raids of the enemy encouraged to build such fortifications, which could serve as a reliable shelter. First castles was the earthen trenches more or less extensive in size, surrounded by a moat and topped by a wooden palisade. As such, they resembled the Roman camp, and this similarity, of course, was not mere coincidence; there is no doubt that these first fortifications were organized on the model of the Roman camps. In the center of the last rose tent commander, or the courtyard of the Praetorium (praetorium), and in the middle of the space, semiquavers castle shaft, climbed natural or, for the most part, artificial earth rise conical shape {la motte). Usually this nassi was built a wooden structure, the door of which was at the top of the mound. Inside the mound was arranged progress in the dungeon with a well. Thus, to get in this wooden structure could only be climbing on the mound. For the convenience of the inhabitants were organized something like a wooden platform, running on props; in case of need it is easily understood, making the enemy who had penetrated into the dwelling itself, met serious obstacle. After mirovaniya danger disassembled parts as easily cited in the previous state. If we, without going into the details, let us imagine only the big picture, which, as we previously mentioned, arises in the mind of any educated person at the mere mention of the castle, if we this General picture is comparable with just described original castle, with all the diversity we both without much exertion will find and common features.

A significant part of the medieval knight's castle is obvious, this unpretentious the construction of the house on earthen mounds corresponds to the main castle tower, demountable descent - draw-bridge, shaft and a palisade - toothed wall

later the castle.