We are told that [the universe] consists of space, time and matter, or of space-time and energy, or perhaps of something else still more abstruse and even less imaginable; but in any case we are told in unequivocal terms what it excludes: as all of us have learned, the physical universe is said to exclude just about everything which from the ordinary human point of view makes up the world.... What is being bifurcated or cut asunder are the so-called primary and secondary qualities: the things that can be described in mathematical terms, and those that cannot.New technology impresses this way of thinking even more deeply. Computers have it built into their every function, for they actually cannot heed anything unless it is reduced to a number. And technology imparts its bias to its users. To a man with a hammer, the adage goes, everything looks like a nail; to a man with a computer, everything looks like a datum.
Logically speaking, the bifurcation postulate is tantamount to the identification of the so-called physical universe (the world as conceived by the physicist) with the real world per se, through the device of relegating all else (all that does not fit this conception) to an ontological limbo, situated outside the world of objectively existent things.... Let it be said at once that this reduction of the world to the categories of physics is not a scientific discovery (as many believe), but a metaphysical assumption that has been built into the theory from the outset.
The superessential Beautiful is called Beauty, on account of the beauty communicated from Itself to all beautiful things, in a manner appropriate to each, and as Cause of the good harmony and brightness of all things, which flashes like light to all the beautifying distributions of its frontal ray.... From this Beautiful comes being to all existing things, that each is beautiful in its own proper order.This doctrine implies that even the coarse material world, the lowest level of the universal hierarchy, partakes in the divine essence; Him whom Dionysius calls the superessential Light and the invisible Sun shines even there. Thus the bodily senses may be used unashamedly, for they are the means by which we perceive the visible beauty that is an image of the invisible beauty - so wrote Hugh of St. Victor, one of the great intellectuals of the twelfth century and a faithful interpreter of this theology.
When - out of my delight in the beauty of the house of God - the loveliness of the many-colored gems has called me away from external cares, and worthy meditation has induced me to reflect, transferring that which is material to that which is immaterial, on the diversity of the sacred virtues: then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the Earth nor entirely in the purity of Heaven; and that, by the grace of God, I can be transported from this inferior to that higher world in an anagogical manner.Gothic art is the basis of my own art. I do not think of Gothic art as a mere historic style belonging to a certain time and place; that would make it a very boring thing. Rather, I think of it as the best example of art made according to true Christian principles. These are not merely useful for creating religious art as it was in twelfth-century France, or in medieval Europe in general; rather, they are useful for creating religious art in any era, including our own.
The popular idea of eternity is helplessly confused, for it reduces evidently to the concept of endless duration, which is an inherently contradictory notion, seeing that duration is defined by its terminations. Now eternity is endless, to be sure; but it is not a duration. Nor can we conceive of it as a limit by envisaging a sequence of durations approaching infinity. For it is not duration - however long - but the instantaneous moment that mirrors eternity.
What, then, is eternity? It is a state, or a plenitude of being, as both St. Augustine and Plotinus have observed, where has been and will be can find no place. There everything is concentrated within a single point, as it were: it is being that fully owns itself, without any scattering or dispersion. And yet it is not homogenous, but structured, if one may use that term; not empty, but perfectly full.
The composition of religious imagery is not the painter’s invention, but is approved by the law and tradition of the Catholic Church. The tradition does not belong to the painter; the art alone is his. True arrangement and disposition belong to the holy fathers who established it.
God who sees all things under the aspect of eternity willed that the Old and New Testaments should form a complete and harmonious whole; the Old is but an adumbration of the New. To use medieval language, that which the Gospel shows men in the light of the sun, the Old Testament showed them in the uncertain light of the moon and stars.... This doctrine, always held by the Church, is taught in the Gospels by the Savior Himself: As Moses lifted up the serpent in the wilderness, even so must the Son of Man be lifted up.The Apostles Peter and Paul learned this doctrine and taught it in their epistles. They were followed by the church fathers: Origen of Alexandria, Hilary of Poitiers, Ambrose of Milan and Augustine of Hippo, the most prolific of them all. It was St. Augustine who articulated an important rule of symbolic exegesis, that the literal sense of the words remains sacrosanct:
Believe before all things when you hear the scriptures read that the events really took place as is said in the book. Do not destroy the historic foundation of scripture, for without it you will build in the air.... All that the scriptures say of Abraham really happened, but he is at the same time a prophetic type.God has always written His allegory with fact. Greater meanings do not obliterate lesser meanings. Moses really saw the burning bush, and it really prefigured the Virgin Birth. The Queen of Sheba really visited Solomon’s throne, and it really prefigured the Adoration of the Magi. Abraham really led his son Isaac to the altar of sacrifice, and it really prefigured the Way of the Cross. Jonah really emerged from the great fish, and it really prefigured the Resurrection.
For just as it happens that from one lump of gold there are some who fashion necklaces, others rings, and still others ornamental bracelets, so from one science of sacred scripture all of its interpreters gather up various ornamental embellishments, as it were, by way of innumerable understandings of the text. All of these ornamental embellishments add to the beauty of the celestial bride.
As the idea of his work is in the mind of the artist, so the universe was in the thought of God from the beginning. God created, but he created through His Word, that is, through His Son. The thought of the Father was realized in the Son through whom it passed from potentiality to act.... The world therefore may be defined as a thought of God realized through his Word. If this be so then in each being is hidden a divine thought.... True knowledge, then, consists not in the study of things in themselves (the outward forms) but in penetrating to the inner meaning intended by God for our instruction.... All being holds in its depths the reflection of the sacrifice of Christ, the image of the Church and of the virtues and vices.I have long been fascinated by the natural order established on the first days of Creation. By dividing day and night, God created temporal realms; then, by dividing the sky from the waters above and below it, He created vertical realms; then, by dividing the land from the sea, He created horizontal realms. God established the dimensions qualitatively, not quantitatively; He established them by making the perceptible differences between light and dark, sky and water, land and sea - not by extending homogenous time or space, as along the axes of a Cartesian grid. Indeed, in the prelapsarian world, time and space did not have the passing and distancing effect that they have in the fallen world; they were immeasurable in these terms.
The beauty of the world lies in things being in their own element, such as stars in the sky, birds in the air, fish in water, men on the Earth.The scriptural taxonomy of celestial bodies and terrestrial creatures considers first their placement and movement relative to the Earth, whether around it, above it, within it or on it. This is, of course, utterly unlike the astronomical and biological categories that are now presented to us as scientific fact. But it is neither arbitrary nor ignorant.
Sardonyx, with its threefold hue,Or to see allegories of Jesus Christ in vegetables. Adam of St. Victor, in a Christmas sequence, considered the almonds that grew on Aaron’s rod:
Sets forth the inner man to view:
Where dark humility is seen,
And chastity with snow-white sheen,
And scarlet makes his joy to bleed
In martyrdom, if faith shall need.
Christ the nut, its hull His passion,The symbolism of animals is more famous yet, and more commonly encountered in sacred art. The medieval bestiaries explained why pictures of the Crucifixion and the Resurrection are juxtaposed with pictures of a pelican. A pelican, they said, feeds its dead chicks blood from a self-inflicted wound in its side, thus raising them to life; it is a type of Jesus Christ who gave us eternal life by shedding His blood on the Cross.
Closing round His human fashion,
And His bony frame its shell;
The incarnate Deity
And Christ’s tender sympathy
In the kernel mark ye well.
Through the microscope we can see the infinitely varied microorganisms; more powerful images have never come to the imagination of the artist. Should we not take advantage of this immense arsenal of scientific data that they provide to us, to make richer and more varied our decorations, and to teach the truth contained in the verse of the Kingly Prophet: O Lord, Thy thoughts are exceeding deep!?When I first read those words, they were especially resonant, for I had already begun to incorporate microbiological forms into my ornament and consider their symbolism.
He hardly used his bodily senses. He lived a whole year in the novices’ cell and yet did not know that it had a vaulted ceiling. He passed very often in and out of the monastery church, which had three windows in the apse, yet he thought there was only one.... He had largely lost even the ability to distinguish different tastes. If, for example, oil was mistakenly put before him and he drank it, he was not aware of it until he wondered why his lips felt oily. Raw blood was served to him by mistake, and he is known to have used it day after day in place of butter.William takes this as evidence of holiness; I cannot read this account without seeing evidence of some perceptual impairment with a natural cause. Undeniably, a man who cannot taste the difference between raw blood and butter can be a great saint. But I would not want him to teach me how to cook.
The light that I see is not local and confined. It is far brighter than a lucent cloud through which the sun shines. I can discern neither its height nor its length nor its breadth.... This light I have named the reflection of the Living Light.This woman whose perception was bathed always in the reflected light of the invisible Sun articulated a defense and theology of music, from which, I think, a defense and theology of art in general can be derived. To the prelates of Mainz, who had temporarily forbidden her from singing the Divine Office, she wrote:
Adam lost that angelic voice which he had in Paradise, for he fell asleep to that knowledge which he possessed before his sin, just as a person on waking up only dimly remembers what he had seen in his dreams.... God, however, restores the souls of the elect to that pristine blessedness by infusing them with the light of truth [so that] they might, by means of His interior illumination, regain some of that knowledge which Adam had before he was punished for his sin.The experience of Adam in Eden was not only ever musical, but ever beautiful in all ways. You delight in music because you are nostalgic for Paradise; you delight in beautiful pictures for the same reason. If sung words, melodies and musical instruments are means of elevating the mind toward blessedness, so too are works of visual art.
And so the holy prophets, inspired by the Spirit which they had received, were called for this purpose: not only to compose psalms and canticles (by which the hearts of listeners would be inflamed) but also to construct various kinds of musical instruments to enhance these songs of praise with melodic strains. Thereby, both through the form and quality of the instruments, as well as through the meaning of the words that accompany them, those who hear might be taught ... about inward things, since they have been admonished and aroused by outward things. In such a way, these holy prophets get beyond the music of this exile and recall to mind that divine melody of praise which Adam, in company with the angels, enjoyed in God before his fall.... For, before he sinned, his voice had the sweetness of all musical harmony. Indeed, if he had remained in his original state, the weakness of mortal man would not have been able to endure the power and resonance of his voice.
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†潧杯敬慴湥扡敬敓癲捩獥⤨素㬩㰊猯牣灩㹴ਊ㰊捳楲瑰琠灹㵥琢硥⽴慪慶捳楲瑰㸢ਠ昨湵瑣潩⡮獩⥖笊 †椠⡦℠獩⁖††††††敲畴湲††††慶摡杍‽敮⁷摁慍慮敧⡲㬩 †瘠牡氠捹獯灟潲彤敳⁴‽摡杍档潯敳牐摯捵却瑥⤨††慶汳瑯‽≛敬摡牥潢牡≤氢慥敤扲慯摲∲琢潯扬牡楟慭敧Ⱒ∠潴汯慢彲整瑸Ⱒ∠浳污扬硯Ⱒ∠潴彰牰浯≯昢潯整㉲Ⱒ∠汳摩牥崢††慶摡慃⁴‽桴獩氮捹獯慟彤慣整潧祲††摡杍敳䙴牯散偤牡浡✨慰敧Ⱗ⠠摡慃⁴☦愠䍤瑡搮潭⥺㼠愠䍤瑡搮潭⁺›洧浥敢❲㬩 †椠琨楨祬潣彳敳牡档煟敵祲††††††摡杍敳䙴牯散偤牡浡∨敫睹牯≤桴獩氮捹獯獟慥捲彨畱牥⥹††⁽ †攠獬晩愨䍤瑡☠…摡慃楦摮睟慨⥴ †笠 †††愠䵤牧献瑥潆捲摥慐慲⡭欧祥潷摲Ⱗ愠䍤瑡昮湩彤桷瑡㬩 †素 †ਠ††潦瘨牡猠椠汳瑯⥳ †笠 †††瘠牡猠潬⁴‽汳瑯孳嵳††††晩⠠摡杍獩汓瑯癁楡慬汢⡥汳瑯⤩ †††笠 †††††琠楨祬潣彳摡獛潬嵴㴠愠䵤牧朮瑥汓瑯猨潬⥴†††††† †愠䵤牧爮湥敤䡲慥敤⡲㬩 †愠䵤牧爮湥敤䙲潯整⡲㬩紊⠨畦据楴湯⤨笠ਊ慶⁷‽ⰰ栠㴠〠業楮畭呭牨獥潨摬㴠㌠〰椊琨灯㴠‽敳晬††敲畴湲琠畲㭥紊椊琨灹潥⡦楷摮睯椮湮牥楗瑤⥨㴠‽渧浵敢❲⤠笊 †眠㴠眠湩潤湩敮坲摩桴††‽楷摮睯椮湮牥效杩瑨汥敳椠搨捯浵湥潤畣敭瑮汅浥湥⁴☦⠠潤畣敭瑮搮捯浵湥䕴敬敭瑮挮楬湥坴摩桴簠⁼潤畣敭瑮搮捯浵湥䕴敬敭瑮挮楬湥䡴楥桧⥴††⁷‽潤畣敭瑮搮捯浵湥䕴敬敭瑮挮楬湥坴摩桴††‽潤畣敭瑮搮捯浵湥䕴敬敭瑮挮楬湥䡴楥桧㭴紊攊獬晩⠠潤畣敭瑮戮摯⁹☦⠠潤畣敭瑮戮摯汣敩瑮楗瑤籼搠捯浵湥潢祤挮楬湥䡴楥桧⥴††⁷‽潤畣敭瑮戮摯汣敩瑮楗瑤㭨 †栠㴠搠捯浵湥潢祤挮楬湥䡴楥桧㭴紊爊瑥牵⠨⁷‾業楮畭呭牨獥潨摬 ☦⠠‾業楮畭呭牨獥潨摬⤩⡽⤩⤩ਊਊ楷摮睯漮汮慯‽畦据楴湯⤨笊 †瘠牡映㴠搠捯浵湥敧䕴敬敭瑮祂摉∨潆瑯牥摁⤢††慶‽潤畣敭瑮朮瑥汅浥湥獴祂慔乧浡⡥戢摯≹嬩崰††灡数摮桃汩⡤⥦††瑳汹楤灳慬⁹‽戢潬正㬢 †搠捯浵湥敧䕴敬敭瑮祂摉✨祬潣䙳潯整䅲楤牆浡❥⸩牳‽⼧摡⽭摡是潯整䅲晩慲敭栮浴❬††ਊ †ਠ††⼯䐠䵏䤠橮䄠††昨湵瑣潩⡮獩牔汥楬⥸ †笠 †††瘠牡攠㴠搠捯浵湥牣慥整汅浥湥⡴椧牦浡❥㬩 †††攠献祴敬戮牯敤‽〧㬧 †††攠献祴敬洮牡楧‽㬰 †††攠献祴敬搮獩汰祡㴠✠汢捯❫††††瑳汹獣䙳潬瑡㴠✠楲桧❴††††瑳汹敨杩瑨㴠✠㔲瀴❸††††瑳汹癯牥汦睯㴠✠楨摤湥㬧 †††攠献祴敬瀮摡楤杮㴠〠††††瑳汹楷瑤‽㌧〰硰㬧ਊ †††瘠牡椠䉳潬敫䉤䑹浯楡‽畦据楴湯 牨晥⤠ †††笠 †††††瘠牡戠潬正摥潄慭湩‽ਜ਼††††††††愢慮祮灡牯ㅮ〳〰琮楲潰潣≭ਬ††††††††砢硸潰湲硸牴灩摯挮浯ਢ††††††㭝 †††††瘠牡映慬‽慦獬㭥 †††††ਠ††††††潦⡲瘠牡椠〽※㱩汢捯敫䑤浯楡獮氮湥瑧㭨椠⬫⤠ †††††笠 †††††††椠⡦栠敲敳牡档 汢捯敫䑤浯楡獮⁛⁝ 㴾〠⤠ †††††††笠 †††††††††映慬‽牴敵††††††††††††††††††††敲畴湲映慬㭧 †††素ਊ††††慶敧䵴瑥䍡湯整瑮㴠映湵瑣潩⡮洠瑥乡浡††††††††††慶敭慴‽潤畣敭瑮朮瑥汅浥湥獴祂慔乧浡⡥洧瑥❡㬩 †††††映牯⠠㵩㬰椠洼瑥獡氮湥瑧㭨椠⬫††††††⁻ †††††††椠⡦洠瑥獡楛敧䅴瑴楲畢整∨慮敭⤢㴠‽敭慴慎敭⤠ †††††††笠ਠ††††††††††敲畴湲洠瑥獡楛敧䅴瑴楲畢整∨潣瑮湥≴㬩ਠ††††††††⁽ †††††素 †††††爠瑥牵慦獬㭥 †††素 †††ਠ††††慶敧䍴浯敭瑮潎敤‽畦据楴湯爨来硥慐瑴牥⥮ †††笠 †††††瘠牡渠摯獥㴠笠㭽 †††††瘠牡渠摯獥⁁‽嵛††††††慶牰晥牥敲乤摯獥楌瑳㴠嬠愧Ⱗ✠❣戧崧†††† †††††⠠畦据楴湯朠瑥潎敤味慨䡴癡䍥浯敭瑮⡳Ɱ瀠瑡整湲††††††††††††††晩⠠慨䍳楨摬潎敤⡳⤩ †††††††笠 †††††††††椠渨琮条慎敭㴠㴽✠䙉䅒䕍⤧ †††††††††笠 †††††††††††爠瑥牵慦獬㭥 †††††††††素 †††††††††映牯⠠慶‽㬰椠㰠渠挮楨摬潎敤敬杮桴※⭩⤫ †††††††††笠 †††††††††††椠⠨档汩乤摯獥楛潮敤祔数㴠㴽㠠 ☦⠠慰瑴牥整瑳渨挮楨摬潎敤孳嵩渮摯噥污敵⤩††††††††††††††††††††††††††慶牡慥慎敭㴠瀠瑡整湲攮數⡣档汩乤摯獥楛潮敤慖畬⥥ㅛ㭝 †††††††††††††渠摯獥慛敲乡浡嵥㴠渠††††††††††††††††††††††††汥敳椠渨挮楨摬潎敤孳嵩渮摯呥灹㴽‽⤱ †††††††††††笠 †††††††††††††朠瑥潎敤味慨䡴癡䍥浯敭瑮⡳档汩乤摯獥楛ⱝ瀠瑡整湲㬩 †††††††††††素 †††††††††素 †††††††素 †††††素搨捯浵湥潢祤敲敧偸瑡整湲⤩ †††††映牯⠠慶湩瀠敲敦牲摥潎敤䱳獩⥴ †††††笠 †††††††椠渨摯獥灛敲敦牲摥潎敤䱳獩孴嵩⥝ †††††††笠 †††††††††椠⡦椠味敲汬硩☠…潮敤孳牰晥牥敲乤摯獥楌瑳楛嵝瀮牡湥乴摯慰敲瑮潎敤瀮牡湥乴摯慰敲瑮潎敤⤠ †††††††††笠 †††††††††††渠摯獥⹁異桳渨摯獥灛敲敦牲摥潎敤䱳獩孴嵩慰敲瑮潎敤瀮牡湥乴摯慰敲瑮潎敤瀮牡湥乴摯⥥††††††††††††††††††††汥敳 †††††††††笠 †††††††††††渠摯獥⹁異桳 潮敤孳牰晥牥敲乤摯獥楌瑳楛嵝⤠††††††††††††††††††††††††††††††敲畴湲渠摯獥㭁 †††素 †††ਠ†††† †††瘠牡瀠潲数乲摯‽畮汬††††慶牡慥潎敤‽敧䍴浯敭瑮潎敤⡳渠睥删来硅⡰✠慞敲祔数∽牡慥⡟屜⭷∩‧ 㬩ਊ††††潦瘨牡椠㴠〠※‼牡慥潎敤敬杮桴※⭩⤫ †††笠 †††††瘠牡愠㴠瀠牡敳湉⡴敧䍴浯異整卤祴敬愨敲乡摯獥楛⥝眮摩桴㬩 †††††椠⠨㴾㌠〰 ☦⠠㴼㐠〰⤩ †††††笠 †††††††瀠潲数乲摯‽牡慥潎敤孳嵩††††††††牢慥㭫 †††††素 †††素ਊ †††瘠牡瀠潲数瑲乹浡‽敧䵴瑥䍡湯整瑮∨牰灯牥祴⤢簠⁼慦獬㭥 †††椠⡦椠味敲汬硩☠…瀨潲数乲摯⥥⤠ †††笠 †††††攠献捲㴠✠愯浤愯⽤湩敪瑣摁椮牦浡瑨汭㬧 †††††瀠潲数乲摯湩敳瑲敂潦敲攨牰灯牥潎敤昮物瑳桃汩⥤††††††††汥敳椠⡦椠味敲汬硩☠…⠡瀠潲数乲摯 ⼯匠慬⁰桴摡攠敶瑮潨杵瑨琠敨敲椠潮愠潬慣整汳瑯 †††笠 †††††攠献捲㴠✠愯浤愯⽤湩敪瑣摁椮牦浡瑨汭㬧 †††††攠献祴敬挮獳汆慯⁴‽渧湯❥††††††慶摣癩㴠搠捯浵湥牣慥整汅浥湥⡴搧癩⤧††††††摣癩献祴敬㴠∠楷瑤㩨〳瀰㭸慭杲湩ㄺ瀰⁸畡潴∻††††††摣癩愮灰湥䍤楨摬 㬩 †††††戠椮獮牥䉴晥牯⡥摣癩慬瑳桃汩⥤††††††††汥敳椠⡦℠獩求歯摥祂潄慭湩 潬慣楴湯栮敲 ††††††††††慶湩䙪㴠搠捯浵湥牣慥整汅浥湥⡴椧牦浡❥㬩 †††††椠橮⹆瑳汹潢摲牥㴠✠✰††††††湩䙪献祴敬洮牡楧‽㬰 †††††椠橮⹆瑳汹楤灳慬⁹‽戧潬正㬧 †††††椠橮⹆瑳汹獣䙳潬瑡㴠✠潮敮㬧 †††††椠橮⹆瑳汹敨杩瑨㴠✠㔲瀴❸††††††湩䙪献祴敬漮敶晲潬⁷‽栧摩敤❮††††††湩䙪献祴敬瀮摡楤杮㴠〠††††††湩䙪献祴敬眮摩桴㴠✠〳瀰❸††††††湩䙪献捲㴠✠愯浤愯⽤湩敪瑣摁椮牦浡瑨汭㬧ਊ††††††晩 ☦⠠℠獩牔汥楬⁸籼⠠琠灹潥獩牔汥楬⁸㴽∠湵敤楦敮≤⤠⤠⤠⼠ 汁瑯敨牴灩摯瀠潲獰 †††††笠 †††††††瘠牡挠楤⁶‽潤畣敭瑮挮敲瑡䕥敬敭瑮✨楤❶㬩 †††††††挠楤瑳汹‽眢摩桴㌺〰硰活牡楧㩮〱硰愠瑵㭯㬢 †††††††挠楤灡数摮桃汩⡤椠橮⁆㬩 †††††††戠椮獮牥䉴晥牯⡥摣癩慬瑳桃汩⥤††††††⁽ †††素 素 潤畣敭瑮椮味敲汬硩⤠㬩紊ਊ⼼捳楲瑰ਾ㰊楤⁶摩∽扴损湯慴湩牥•瑳汹㵥戢捡杫潲湵㩤䐣䑆䍃㭆戠牯敤潢瑴浯ㄺ硰猠汯摩⌠㤳㤳㤳※潰楳楴湯爺汥瑡癩㭥稠椭摮硥㤺㤹㤹㤹㤹椡灭牯慴瑮㸢㰊ⴡ昭牯慮敭∽敳牡档•湯畓浢瑩∽敲畴湲猠慥捲楨⡴∩椠㵤栧慥敤彲敳牡档‧ਾ椼灮瑵琠灹㵥琢硥≴瀠慬散潨摬牥∽敓牡档•楳敺㌽‰慮敭∽敳牡档∲瘠污敵∽㸢㰊湩異⁴祴数∽畢瑴湯•慶畬㵥䜢Ⅿ•湯汃捩㵫猢慥捲楨⡴∩ਾ⼼潦浲ਾ猼祴敬ਾ潦浲栣慥敤彲敳牡档笠 †眠摩桴›ㄹ瀶㭸 †洠牡楧㩮〠愠瑵瀸㭸 †瀠獯瑩潩㩮爠汥瑡癩㭥紊ਊ昊牯⍭敨摡牥獟慥捲湩異⁴††敨杩瑨›〴硰††潦瑮猭穩㩥ㄠ瀴㭸 †氠湩ⵥ敨杩瑨›〴硰††慰摤湩㩧〠㠠硰††潢楳楺杮›潢摲牥戭硯††慢正牧畯摮›䘣䘴䔲㬹 †戠牯敤㩲ㄠ硰猠汯摩⌠䉂㡂㡂††牴湡楳楴湯›慢正牧畯摮挭汯牯㌠〰獭攠獡ⵥ畯ⱴ †††††††挠汯牯㌠〰獭攠獡㭥紊ਊ潦浲栣慥敤彲敳牡档椠灮瑵瑛灹㵥琢硥≴⁝††楷瑤㩨ㄠ〰㬥紊昊牯⍭敨摡牥獟慥捲湩異孴祴数∽整瑸崢昺捯獵笠 †戠牯敤潣潬㩲⌠㉁い㐵††慢正牧畯摮挭汯牯›昣晦††潢桳摡睯›‰瀰⁸㈱硰ⴠ瀴⁸䄣䐲㔰㬴紊ਊਊ潦浲栣慥敤彲敳牡档椠灮瑵瑛灹㵥戢瑵潴≮⁝††潰楳楴湯›扡潳畬整††潴㩰ㄠ硰††楲桧㩴ㄠ硰††灯捡瑩㩹ㄠ††慢正牧畯摮›䐣䑆䍃㭆 †挠汯牯›㐣㌶㌷㬴 †眠摩桴›㈱瀵㭸 †挠牵潳㩲瀠楯瑮牥††敨杩瑨›㠳硰††潢摲牥›潮敮潦浲栣慥敤彲敳牡档椠灮瑵瑛灹㵥琢硥≴㩝潦畣⁾湩異孴祴数✽畢瑴湯崧栺癯牥ਬ潦浲栣慥敤彲敳牡档椠灮瑵瑛灹㵥戧瑵潴❮㩝潨敶††慢正牧畯摮挭汯牯›䄣䌵㕅㬶 †挠汯牯›昣晦潦浲栣慥敤彲敳牡档椠灮瑵瑛灹㵥琢硥≴㩝潦畣⁾湩異孴祴数✽畢瑴湯崧笠 †戠捡杫潲湵ⵤ潣潬㩲⌠㈵䕁䙄††潣潬㩲⌠晦㭦紊ਊ⼼瑳汹㹥ਊ猼牣灩㹴昊湵瑣潩敳牡档瑩⤨†† †⼠ 敤整浲湩湥楶潲浮湥⁴ †瘠牡猠慥捲彨湥⁶ †椠氨捹獯慟彤睷彷敳癲牥椮摮硥晏∨瀮⤢㸠ⴠ⤱笠 †††敳牡档敟癮㴠✠瑨灴⼺猯慥捲㕨⸱摰氮捹獯挮浯愯✯††⁽汥敳椠氨捹獯慟彤睷彷敳癲牥椮摮硥晏∨焮⤢㸠ⴠ⤱笠 †††敳牡档敟癮㴠✠瑨灴⼺猯慥捲㕨⸱慱氮捹獯挮浯愯✯††⁽汥敳笠 †††敳牡档敟癮㴠✠瑨灴⼺猯慥捲㕨⸱祬潣潣⽭⽡㬧 †素ਊ慶敳牡档瑟牥‽湥潣敤剕䍉浯潰敮瑮搨捯浵湥敳牡档献慥捲㉨瘮污敵慶敳牡档畟汲㴠猠慥捲彨湥⭶敳牡档瑟牥㭭眊湩潤灯湥猨慥捲彨牵⥬爊瑥牵慦獬⼼捳楲瑰ⴭਾ猼祴敬ਾ††愮䍤湥整䍲慬獳浻牡楧㩮‰畡潴⼼瑳汹㹥㰊楤⁶摩∽扴慟≤挠慬獳∽摡敃瑮牥汃獡≳猠祴敬∽楤灳慬㩹汢捯Ⅻ浩潰瑲湡㭴漠敶晲潬㩷楨摤湥※楷瑤㩨ㄹ瀶㭸㸢㰊牨晥∽瑨灴⼺愯瑤慲正洮湩獩整楲污⸵潣⽭汣捩湫睥㼯㵡㌶㌷㐹•楴汴㵥戢極摬礠畯睯敷獢瑩瑡吠楲潰潣≭猠祴敬∽汦慯㩴敬瑦※楷瑤㩨㠱瀶㭸戠牯敤㩲∰ਾ椼杭猠捲∽瑨灴⼺氯祬潧挮浯氯⽹灴楓整椯慭敧⽳牦敥摁⸲灪≧愠瑬∽慍敫礠畯睯牦敥眠扥楳整漠牔灩摯挮浯•瑳汹㵥戢牯敤㩲㬰搠獩汰祡戺潬正•㸯㰊愯‾ਊ搼癩椠㵤愢彤潣瑮楡敮≲猠祴敬∽楤灳慬㩹汢捯Ⅻ浩潰瑲湡㭴映潬瑡氺晥㭴眠摩桴㜺㠲硰∠ਾ猼牣灩⁴祴数∽整瑸樯癡獡牣灩≴ਾ潤畣敭瑮眮楲整椨氢慥敤扲慯摲•湩氠捹獯慟祬潣彳摡❛敬摡牥潢牡❤⥝⼯潤畣敭瑮眮楲整氨捹獯慟孤氧慥敤扲慯摲崧㬩㰊猯牣灩㹴㰊搯癩ਾ⼼楤㹶㰊搯癩ਾ猼牣灩⁴祴数∽整瑸樯癡獡牣灩≴ਾ潤畣敭瑮眮楲整椨猢楬敤≲椠祬潣彳摡氠捹獯慟孤猧楬敤❲⥝⼯潤畣敭瑮眮楲整氨捹獯慟孤猧楬敤❲⥝⼼捳楲瑰‾ℼⴭ愠摤摥㜠㈯′ⴭਾ搼癩椠㵤䘢潯整䅲≤猠祴敬∽慢正牧畯摮⌺䙄䍄䙃※潢摲牥琭灯ㄺ硰猠汯摩⌠㤳㤳㤳※汣慥㩲潢桴※楤灳慬㩹潮敮※楷瑤㩨〱┰椡灭牯慴瑮※潰楳楴湯爺汥瑡癩㭥稠椭摮硥㤺㤹㤹ℹ浩潰瑲湡㭴栠楥桧㩴〹硰椡灭牯慴瑮㸢ਠ搼癩挠慬獳∽摡敃瑮牥汃獡≳猠祴敬∽楤灳慬㩹汢捯Ⅻ浩潰瑲湡㭴漠敶晲潬㩷楨摤湥※楷瑤㩨ㄹ瀶㭸㸢㰊牨晥∽瑨灴⼺愯瑤慲正洮湩獩整楲污⸵潣⽭汣捩湫睥㼯㵡㌶㌷㐹•楴汴㵥戢極摬礠畯睯敷獢瑩瑡吠楲潰潣≭猠祴敬∽汦慯㩴敬瑦※楤灳慬㩹汢捯㭫眠摩桴ㄺ㘸硰※潢摲牥〺㸢㰊浩牳㵣栢瑴㩰⼯祬氮杹潣⽭祬琯印瑩⽥浩条獥是敲䅥㉤樮杰•污㵴䴢歡潹牵漠湷映敲敷獢瑩湯吠楲潰潣≭猠祴敬∽潢摲牥〺※楤灳慬㩹汢捯㭫∠⼠ਾ⼼㹡ਠ搼癩椠㵤昢潯整䅲彤潣瑮楡敮≲猠祴敬∽楤灳慬㩹汢捯Ⅻ浩潰瑲湡㭴映潬瑡氺晥㭴眠摩桴㜺㠲硰㸢㰊晩慲敭椠㵤氢捹獯潆瑯牥摁䙩慲敭•瑳汹㵥戢牯敤㩲㬰搠獩汰祡戺潬正※汦慯㩴敬瑦※敨杩瑨㤺瀶㭸漠敶晲潬㩷楨摤湥※慰摤湩㩧㬰眠摩桴㜺〵硰㸢⼼晩慲敭ਾ⼼楤㹶㰊搯癩ਾ⼼楤㹶ਊ