E. Kuznetsov
(Morning of the official who received the first cross)
Pavel Fedotov. Fresh gentleman
Pavel Fedotov spied his hero in a shameful moment and did everything to make the shame visible: little man he found himself someone even smaller, over whom he could rise, the slave found himself a slave, the one who was trampled on wanted to be trampled underfoot.
Well, Fedotov himself was a little man, he himself patiently rose and slowly rose, and every milestone of the path he had passed was firmly imprinted in his heart: now he was accepted into the cadet corps, here was his “first role” at the graduation ceremony (a child’s joy, but he loved it so strongly I remember that I told about her in my autobiography, albeit slightly ironically), here is the first rank, here is the next, here is a diamond ring from Grand Duke Mikhail Pavlovich...
In the film “Fresh Cavalier”, he disowned not only his hero, but also a little from himself - with ridicule, disgusted alienation. He has never been and never will be as mercilessly sarcastic as he is here.
The disorder reigning in the room is fantastic - the most unbridled revelry could not have produced it: everything is scattered, broken, turned over. Not only is the smoking pipe broken, but the strings of the guitar are broken, and the chair is mutilated,
and herring tails are lying on the floor next to the bottles, with shards from a crushed plate,
Fedotov gave a certain amount of his sympathy to the cook. A good-looking, neat woman, with a pleasantly rounded, common-spirited face, her whole appearance demonstrating the opposite of the disheveled owner and his behavior, looks at him from the position of an outside and untainted observer.
The owner has decisively lost what allows him to be treated with any kindness.
“Debauchery in Russia is not deep at all, it is more wild, greasy, noisy and rude, disheveled and shameless than deep...” - it seems that these words of Herzen were written directly about him. He filled with arrogance and anger and bristled. The ambition of the boor, who wants to put the cook in her place, rushes out of him, disfiguring, really, the very good features of his face.
Fedotov, on the other hand, is completely alien to the spirit of denunciation - he, not so much accidentally, but most likely unconsciously, touched a secret, sore spot, and touched it so unexpectedly that he was not even correctly understood.
Who really is the unbridled boor he depicts? This is not at all the soulless careerist official whom the audience wanted to see, including such a sophisticated viewer as V. Stasov, who wrote after a considerable time, that is, having become completely established in his initial perception:
“... before you is an experienced, stiff nature, a corrupt bribe-taker, a soulless slave of his boss, no longer thinking about anything except that he will give him money and a cross in his buttonhole. He is ferocious and merciless, he will drown whoever and whatever he wants, and not a single wrinkle on his face made of rhinoceros (that is, rhinoceros - E.K.) skin will tremble. Anger, arrogance, callousness, idolization of the order as the highest and categorical argument, a completely vulgarized life.”
It is written, as always by Stasov, powerfully, but about a completely different person. Hero of Fedotov - small fry. The artist himself insistently emphasized this, calling him a “poor official” and even a “toiler” “with little support”, experiencing “constant poverty and deprivation.” This is too clearly evident from the picture itself - from the assorted furniture, mostly “white wood”, from the plank floor, torn robe and mercilessly worn boots.
It is clear that he has only one room - a bedroom, an office, and a dining room; it is clear that the cook is not his own, but the owner’s.
Well, he is not one of the latter, not Bashmachkin or Poprishchin, not some rag - so he grabbed an order and went broke on a feast, but still he is poor and pitiful.
This is a small man, whose entire ambition is only enough to show off in front of the cook.
Stasov’s mistake in assessing Fedotov’s would-be hero was not his personal one and was instructive in its own way. The poverty and insignificance of the official were, of course, seen, but they were not perceived, they were passed over: it did not fit into the usual stereotype.
WITH light hand Gogol the official became central figure Russian literature of the 1830-1850s, almost the only theme for vaudevilles, comedies, stories, satirical scenes, etc. The official had compassion. Yes, sometimes they made fun of him, but the note of sympathy for the little man, tormented by the powers that be, remained unchanged.
The pitiful official stands in the pose of an ancient hero, offering an orator's gesture right hand to the chest (to the place where the ill-fated order hangs), and with the left, resting on the side, deftly picking up the folds of the spacious robe, as if it were not a robe, but a toga.
There is something classical, Greco-Roman in his very pose with his body resting on one leg, in the position of his head slowly turned towards us in profile and proudly thrown back, in his bare feet protruding from under his robe, and even tufts of curl-papers stick out from his hair is like a laurel wreath.
One must think that this is exactly how the official felt victorious, majestic and proud to the point of arrogance.
But antique hero, raised among broken chairs, empty bottles and shards, could only be funny, and humiliatingly funny - all the wretchedness of his ambitions came out.
Of course, the painter’s brush often turns out to be wiser than his thought, or at least ahead of it, but did Fedotov’s parody of an academic painting really arise spontaneously? After all, he had shown a tendency to make fun of the venerable arsenal of classical art before. That comic effect, which appeared spontaneously in some of his sepia, Fedotov used this time quite deliberately, for the purpose of ironic ridicule. By debunking his hero, Fedotov simultaneously debunked academic art with its ossified antics and tricks. In his first picture, Russian painting, laughing, parted with academicism.
Based on materials from the book by E. Kuznetsov
Pavel Andreevich Fedotov (June 22, 1815, Moscow - November 14, 1852, St. Petersburg) - Russian painter and graphic artist, academician of painting, one of the largest representatives of Russian romanticism, founder critical realism in Russian painting.
Fresh Cavalier (Morning of the Official Who Received the First Cross) is the first oil painting he painted in his life, the first completed painting.
Many, including the art critic Stasov, saw in the depicted official a despot, a bloodsucker and a bribe-taker. But Fedotov's hero is a small fry. The artist himself insistently emphasized this, calling him a “poor official” and even a “toiler” “with little support”, experiencing “constant poverty and deprivation.” This is too clearly evident from the picture itself - from the assorted furniture, mostly “white wood”, from the plank floor, torn robe and mercilessly worn boots. It is clear that he has only one room - a bedroom, an office, and a dining room; it is clear that the cook is not his own, but the owner’s. But he is not one of the last - so he snatched an order and splurged on the feast, but still he is poor and pitiful. This is a small man, whose entire ambition is only enough to show off in front of the cook.
Fedotov gave a certain amount of his sympathy to the cook. A good-looking, neat woman, with a pleasantly rounded, common-spirited face, her whole appearance demonstrating the opposite of the disheveled owner and his behavior, looks at him from the position of an outside and untainted observer. The cook is not afraid of the owner, looks at him with mockery and hands him a torn boot.
“Where there is a bad relationship, there is dirt on the great holiday,” Fedotov wrote about this picture, apparently hinting at the pregnancy of the cook, whose waist is suspiciously rounded.
The owner has decisively lost what allows him to be treated with any kindness. He filled with arrogance and anger and bristled. The ambition of the boor, who wants to put the cook in her place, rushes out of him, disfiguring, really, the very good features of his face.
The pitiful official stands in the pose of an ancient hero, with the gesture of an orator raising his right hand to his chest (to the place where the ill-fated order hangs), and with his left, resting on his side, deftly picking up the folds of a spacious robe, as if it were not a robe, but a toga. There is something classical, Greco-Roman in his very pose with his body resting on one leg, in the position of his head slowly turned towards us in profile and proudly thrown back, in his bare feet protruding from under his robe, and even tufts of curl-papers stick out from his hair is like a laurel wreath.
One must think that this is exactly how the official felt victorious, majestic and proud to the point of arrogance. But the ancient hero, rising among broken chairs, empty bottles and shards, could only be funny, and humiliatingly funny - all the wretchedness of his ambitions came out.
The disorder reigning in the room is fantastic - the most unbridled revelry could not have produced it: everything is scattered, broken, turned over. Not only is the smoking pipe broken, but the strings of the guitar are broken, and the chair is mutilated, and herring tails are lying on the floor next to bottles, with shards from a crushed plate, with an open book (the name of the author, Thaddeus Bulgarin, carefully written on the first page, - another reproach to the owner).
P. A. Fedotov. Fresh gentleman 1846. Moscow, Tretyakov Gallery
The plot of “Fresh Cavalier” by P. A. Fedotov is explained by the author himself.
- “The morning after the feast on the occasion of the received order. The new gentleman couldn’t bear it: the light put his new one on his robe and proudly reminds the cook of his importance, but she mockingly shows him the only boots, but they are worn out and full of holes, which she was taking to clean. Scraps and fragments of yesterday's feast lie on the floor, and under the table in the background one can see an awakening gentleman, probably left on the battlefield, also a gentleman, but one of those who pester passers-by with passports. The waist of a cook does not give the owner the right to have guests better tone. Where there is a bad connection, there is dirt on the great holiday.”
It is quite obvious that the picture cannot be reduced to a direct narrative: a pictorial narrative includes rhetorical turns. First of all, the main character appears as such a rhetorical figure. His pose is that of a speaker draped in a “toga,” with an “antique” body posture, characteristic support on one leg, and bare feet. So is his overly eloquent gesture and stylized, embossed profile; papillots form a semblance of a laurel wreath.
However, translation into a high language classical tradition unacceptable for the picture as a whole. The hero’s behavior, by the will of the artist, becomes playful behavior, but objective reality immediately exposes the play: the toga turns into an old robe, laurels into curlers, bare feet into bare feet. The perception is twofold: on the one hand, we see before us the comically pitiful face of real life, on the other hand, before us is the dramatic position of a rhetorical figure in a “reduced” context that is unacceptable for her.
By giving the hero a pose that does not correspond to the real state of affairs, the artist ridiculed the hero and the event itself. But is this the only expressiveness of the picture?
Russian painting of the previous period was inclined to maintain a completely serious tone when addressing classical heritage. This is largely due to the leadership role historical genre V artistic system academicism. It was believed that only a work of this kind could raise Russian painting to truly historical heights, and the stunning success of Bryullov’s “ Last day Pompeii" strengthened this position.
K. P. Bryullov. The last day of Pompeii 1830-1833. Leningrad, State Russian Museum
The painting by K. P. Bryullov was perceived by contemporaries as a revived classic. “...It seemed to me,” wrote N.V. Gogol, “that sculpture is that sculpture that was comprehended in such plastic perfection by the ancients that this sculpture finally passed into painting...” Indeed, inspired by the plot of the ancient era, Bryullov seemed to set in motion an entire museum of ancient sculpture. The introduction of a self-portrait into the painting completes the effect of “relocation” into the depicted classics.
Bringing one of his first heroes to public view, Fedotov puts him in a classic pose, but completely changes the plot and visual context. Removed from the context of “high” speech, this form of expressiveness turns out to be in clear contradiction with reality - a contradiction that is both comic and tragic, for it comes to life precisely in order to immediately reveal its non-viability. It must be emphasized that it is not the form as such that is ridiculed, but precisely the one-sidedly serious way of using it - a convention that claims to take the place of reality itself. This creates a parody effect.
Researchers have already paid attention to this feature artistic language Fedotova.
Fedotov. Consequence of Fidelka's death. 1844
“In the sepia caricature “Polshtof”, in the sepia “Consequence of Fidelka’s death”, in the painting “Fresh Cavalier” the category of the historical is ridiculed. Fedotov does this in different ways: instead of the sitter in a heroic pose he puts a half-shtof, in the main place he puts the corpse of a dog, surrounding him with the figures of those present, he likens one of the characters to a Roman hero or orator. But every time, exposing and ridiculing habits, character traits, laws, he ridicules them through the signs and attributes of the academic genre. But the point is not only in denial, Fedotov at the same time. and uses the techniques of academic art.”
Sarabyanov D.P. P.A. Fedotov and Russian artistic culture 40s of the XIX century. P.45
The last remark is very important; it proves that the category of the historical (in its academic interpretation) in Fedotov is subjected not just to ridicule, but to parody. From here the fundamental focus of Fedotov’s painting on “reading”, on correlation with the art of the word, which is most susceptible to playing with meanings, becomes clear. It is worth recalling here the work of Fedotov the poet and his literary comments - oral and written - on his own paintings and drawings. Close analogies can be found in the work of a group of writers who glorified the art of parody under the pseudonym Kozma Prutkov.
The subject oversaturation of Fedotov’s image is by no means a naturalistic property. The meaning of things here is similar to the meaning of the characters. This is the situation we encounter in “The Fresh Cavalier,” where a great variety of things are presented, each with an individual voice, and they all seemed to speak at once, rushing to talk about the event and hastily interrupting each other. This can be explained by the inexperience of the artist. But this does not exclude the possibility of seeing in this poorly ordered action of things crowded around a pseudo-classical figure a parody of the conventionally regular structure of a historical picture. Consider the all-too-ordered confusion of The Last Day of Pompeii.
K. P. Bryullov. Last day of Pompeii. Fragment
"Faces and bodies - perfect proportions̆; the beauty and roundness of the body are not disturbed, not distorted by pain, cramps and grimaces. Stones hang in the air - and not a single bruised, wounded or contaminated person.”
Ioffe I.I. Synthetic art history
Let us also remember that in the author’s commentary to “The Fresh Cavalier,” quoted above, the space of action is referred to as “the battlefield,” the event, the consequences of which we see, as “feast,” and the hero awakening under the table as “ the one who remained on the battlefield is also a cavalier, but one of those who pester passers-by with passports” (that is, a policeman).
P. A. Fedotov. Fresh gentleman 1846. Moscow, Tretyakov Gallery. Fragment. policeman
Finally, the very title of the picture is ambiguous: the hero is a holder of the order and the “chevalier” of the cook; The same duality marks the use of the word “fresh.” All this indicates a parody of the “high syllable”.
Thus, the meaning of the image is not reduced to the meaning of the visible; the picture is perceived as a complex ensemble of meanings, and this is due to the stylistic play, the combination of different settings. Contrary to popular belief, painting is able to master the language of parody. This position can be expressed in a more specific form: the Russian everyday genre goes through the stage of parody as a natural stage of self-affirmation. It is clear that parody does not imply negation as such. Dostoevsky parodied Gogol, learning from him. It is also clear that parody does not amount to ridicule. Its nature lies in the unity of two principles, comic and tragic, and “laughter through tears” is much closer to its essence than comic imitation or mimicry.
IN late creativity Fedotov’s parody principle becomes almost elusive, entering a much more “closer” personal context. Perhaps it is appropriate here to talk about autoparody, about a game on the verge of exhaustion of mental strength, when laughter and tears, irony and pain, art and reality celebrate their meeting on the eve of the death of the very person who united them.
Pavel Andreevich Fedotov was incredible talented person. He had good hearing, sang, played music, and composed music. While studying at the Moscow Cadet School, he achieved such success that he ended up in number four best students. However, the passion for painting conquered everything. Already while serving in the Finnish Regiment, Pavel enrolled in classes at the Imperial Academy of Arts under the guidance of professor of battle painting Alexander Sauerweid.
He turned out to be too old to study, as another academy teacher, Karl Bryullov, did not fail to tell him. In those days, art began to be taught early, usually between the ages of nine and eleven. And Fedotov crossed this line a long time ago... But he worked diligently and a lot. Soon he began to produce good watercolors. The first work exhibited to the audience was the watercolor “Meeting of the Grand Duke.”
Its theme was suggested by the meeting the young artist saw between the guards and Grand Duke Mikhail Pavlovich in the Krasnoselsky camp, who joyfully greeted the distinguished person. These emotions struck the future painter and he managed to create a masterpiece. His Highness liked the picture, Fedotov was even awarded a diamond ring. This award, according to the artist, “finally sealed artistic pride in his soul.”
However, Pavel Andreevich’s teachers were not satisfied with the works of the aspiring artist. They wanted to get from him the polished and polished image of the soldiers, which the authorities demanded from the servicemen at the May parades.
One artist guessed another
Fedotov did not like all this, for which he listened to constant comments. Only at home did he vent his soul, depicting the most ordinary scenes, illuminated with good-natured humor. As a result, what Bryullov and Sauerweid did not understand, Ivan Andreevich Krylov understood. The fabulist accidentally saw the sketches of the young painter and wrote him a letter, urging him to leave horses and soldiers forever and get down to real business - the genre. One artist sensitively guessed the other.
Fedotov believed the fabulist and left the Academy. Now it is difficult to imagine how his fate would have turned out if he had not listened to Ivan Andreevich. And the artist would not have left the same mark in Russian painting as Nikolai Gogol and Mikhail Saltykov-Shchedrin did in literature. He was one of the first painters of the mid-19th century to decisively take the path of critical realism and began to openly expose the vices of Russian reality.
High score
In 1846, the artist painted the first painting in the new genre, which he decided to present to the professors. This painting was called “Fresh Cavalier”. It is also known as “The Morning of the Official Who Received the First Cross” and “The Consequences of the Feast.” The work on it was hard. “This is my first chick, which I “nursed” with various amendments for about nine months,” Fedotov wrote in his diary.
He showed the finished painting along with his second work, “The Picky Bride,” at the Academy. And a miracle happened - Karl Bryullov, who had not previously been particularly friendly to Pavel Andreevich, gave his paintings the highest rating. The Academy Council nominated him to the title of academician and awarded him a monetary allowance. This allowed Fedotov to continue the painting “The Major’s Matchmaking.” In 1848, she, along with “The Fresh Cavalier” and “The Picky Bride,” appears at an academic exhibition.
The next exhibition, along with fame, brought the attention of censors. It was forbidden to remove lithographs from the “Fresh Cavalier” due to the disrespectful depiction of the order, and it was impossible to remove the order from the picture without destroying its plot. In a letter to the censor Mikhail Musin-Pushkin, Fedotov wrote: “... where there is constant poverty and deprivation, there the expression of the joy of a reward will lead to the childishness of rushing around with it day and night. ... they wear stars on their dressing gowns, and this is only a sign that they are valued.”
However, the request to allow distribution of the painting “in its present form” was refused.
"Fresh Cavalier"
This is what Fedotov wrote in his diary when he returned from the Censorship Committee about the painting: “The morning after the feast on the occasion of the received order. The new gentleman could not bear it, as soon as it was light he put his new one on his robe and proudly reminded the cook of his importance. But she mockingly shows him his only boots, but they are worn out and full of holes, which she was taking to be cleaned. Scraps and fragments of yesterday's feast are lying on the floor, and under the table in the background one can see an awakening gentleman, probably also remaining on the battlefield, but one of those who pester those passing by with a passport. The waist of a cook does not give the owner the right to have guests of the best taste. “Where there is a bad connection, there is a great holiday - dirt.”
Pavel Fedotov gave a certain amount of his sympathy to the cook in his work. She is a pretty, neat young woman with a round, common-spirited face. A scarf tied on the head says that she is not married. Married women in those days wore a warrior on their head. Judging by the belly, she is expecting a child. One can only guess who his father is.
Pavel Fedotov painted “Fresh Cavalier” in oils for the first time. Perhaps that is why work on it took quite a long time, although the idea was formed a long time ago. The new technique contributed to the emergence of a new impression - complete realism, materiality of the depicted world. The artist worked on the painting as if he were painting a miniature, paying attention to the smallest details, leaving not a single fragment of space unfilled. By the way, critics subsequently reproached him for this.
Poor official
Critics called the gentleman as many times as he could: “an unbridled boor,” “a soulless careerist official.” After many years, the critic Vladimir Stasov completely burst into an angry tirade: “... before you is an experienced, stiff nature, a corrupt bribe-taker, a soulless slave of his boss, no longer thinking about anything except that he will give him money and a cross in his buttonhole. He is ferocious and merciless, he will drown anyone and anything he wants, and not a single wrinkle on his rhinocers skin face will falter. Anger, arrogance, callousness, idolization of the order as the highest and categorical argument, a completely vulgarized life.”
However, Fedotov did not agree with him. He called his hero a “poor official” and even a “toiler” “with little support”, experiencing “constant poverty and deprivation.” It’s hard to argue with the latter - the interior of his home, which is at once a bedroom, an office and a dining room, is quite poor. This little man has found someone even smaller to rise above...
He is, of course, not Akaki Akakievich from Gogol’s “The Overcoat”. He has a small reward, which entitles him to a number of privileges, in particular, to receive nobility. Thus, receiving this lowest order in the Russian award system was very attractive to all officials and members of their families.
The gentleman missed his chance
Thanks to Nikolai Gogol and Mikhail Saltykov-Shchedrin, the official became a central figure in Russian literature of the 1830s-1850s. It was made hardly the only theme for vaudevilles, comedies, stories, satirical scenes and other things. They may have made fun of the official, but they felt compassion and sympathy for him. After all, he was tormented by the powers that be and he had no right to vote at all.
Thanks to Pavel Fedotov, it became possible to see the image of this minor performer on canvas. By the way, today the topic raised in mid-19th century, sounds no less relevant. But among the writers there is no Gogol, who is able to describe the suffering of a modern official, for example, from the council, and there is no Fedotov, who, with his usual share of irony, would draw a local-level official with letter of thanks in the hands of another official, higher in rank. Management receives cash bonuses and serious awards...
The painting was painted in 1846. And in 1845, the awarding of the Order of Stanislav was suspended. So it is quite likely that the cook’s laughter, which is clearly heard from the canvas, just indicates that the broken girl knows the whole truth. They are no longer awarded and the “fresh gentleman” missed his only chance to change his life.
The genres of his paintings are varied
Pavel Fedotov influenced the course of development fine arts and went down in history as a talented artist who took important steps in the development of Russian painting.
The genres of his paintings are quite diverse, ranging from portraits, genre scenes and ending with battle paintings. Special attention those written in his characteristic style of satire or critical realism are used. In them he puts human weaknesses and human essence on display. These paintings are witty, and during the master’s lifetime they were a real revelation. Genre scenes where vulgarity, stupidity and generally different aspects are ridiculed human weaknesses, in Russian art of the 19th century centuries were innovations.
However, the artist’s integrity, along with the satirical orientation of his work, caused increased attention from censorship. As a result, patrons who had previously favored him began to turn away from Fedotov. And then health problems began: his vision deteriorated, headaches became more frequent, he suffered from rushes of blood to his head... As a result, his character changed for the worse.
Fedotov died forgotten by everyone except his friends
Fedotov's life ended tragically. In the spring of 1852, Pavel Andreevich showed signs of acute mental disorder. And soon the academy was notified by the police that “there is a madman in the unit who says that he is the artist Fedotov.”
Friends and the authorities of the Academy placed Fedotov in one of the private St. Petersburg hospitals for the mentally ill. The Emperor granted 500 rubles for his maintenance in this establishment. The disease progressed rapidly. In the fall of 1852, acquaintances arranged for Pavel Andreevich to be transferred to the All Who Sorrow Hospital on the Peterhof Highway. Here Fedotov died on November 14 of the same year, forgotten by everyone except a few close friends.
He was buried at the Smolensk Orthodox Cemetery in the uniform of a captain of the Life Guards of the Finnish Regiment. The censorship committee prohibited the publication of the news of Pavel Andreevich's death in the press.
Pavel Andreevich Fedotov (1815-1852) Fresh gentleman (or “The morning of the official who received the first cross”, or “The consequences of the feast”). 1846 Oil on canvas. 48.2 × 42.5 cm Tretyakov Gallery, Moscow
In the picture "Fresh Cavalier"- a squandered nobleman who received a third-class order. But what an abyss of importance! In the morning, with his hair curled into a newspaper, having not really slept after a drinking session, he puts the order on a greasy robe and, boasting to the maid, puffs up like a turkey! The maid is not inclined to admire him. She mockingly hands over to the “nobility” the boots he had thrown behind the door, and under the table, yesterday’s drinking companion of the owner awakens in agony.
Fedotov sent the painting “Fresh Cavalier” to his idol Karl Pavlovich Bryullov for judgment. A few days later he was invited to see him.
Sick, pale, gloomy, Bryullov sat in Voltaire’s chair.
- Why haven’t you been seen for a long time? –– was his first question.
- I didn’t dare to bother...
“On the contrary, your picture gave me great pleasure, and therefore relief.” And congratulations, you have overtaken me! Why have you never shown anything?
– I haven’t studied much yet, I haven’t copied anyone yet...
- This is something that was not copied, and happiness is yours! You have discovered a new direction in painting – social satire; similar works Russian art didn't know before you.
Addressing completely new topics, a critical attitude to reality, a new creative method—Fedotov raised genre painting to the level of social significance! The Council of the Academy of Arts unanimously recognized Fedotov as an academician.
Nina Pavlovna Boyko. Stories of famous paintings: essays on Russian painting. Perm, 2012
*****
The morning after the feast on the occasion of the received order. The new gentleman couldn’t bear it: the light put his new one on his robe and proudly reminds the cook of his importance, but she mockingly shows him the only boots, but they are worn out and full of holes, which she was taking to clean.
Pavel Andreevich Fedotov (1815-1852) Fresh gentleman, 1846 Fragment
Scraps and fragments of yesterday's feast are lying on the floor, and under the table in the background you can see an awakening man, probably left on the battlefield, also a gentleman, but one of those who pester visitors with passports. The waist of a cook does not give the owner the right to have guests of the best taste.
