The discovery of the Holy Sepulcher and the True Cross in 326 must be considered as one of the great events in the history of Christianity; it was seen as a genuine miracle. Constantine immediately had magnificent monuments built on the site of rediscovered Calvary.... On the exact spot where the cross had been planted - the sacred spot regarded as the center of the world - a great cross was erected, encased in gold and decorated with precious stones.... Countless pilgrims from the remotest parts of the world flocked to Jerusalem. It was not enough for them to venerate the Holy Sepulcher; they visited all of the places consecrated by the Gospels, and everywhere they found magnificent basilicas.... All of these buildings were decorated with mosaics.Sacred art here is confident, dogmatic and grand; its figures no longer wear the disguises of Classical antiquity, as they did in the art of the catacombs. Pilgrims to Jerusalem collected holy oil from the shrines in tiny flasks of cast metal or painted glass and wore them around their necks. These were decorated with the same images seen in the mosaics. Wooden stamps for pressing the images into the dough for eulogia bread were also popular. Through portable objects such as these, the artistic traditions reached the ends of civilization.
Chosroës wanted to be worshipped as God. He built a gold and silver tower studded with jewels, and placed within it images of the sun, the moon and the stars. Bringing water to the top of the tower through hidden pipes, he poured down water as God pours rain, and in an underground cave he had horses pulling chariots around in a circle to shake the tower and produce a noise like thunder.... He sat on a throne in the shrine as the Father, put the wood of the cross on his right in place of the Son, and a cock on his left in place of the Holy Spirit.The emperor Heraclius led a crusade to recover the relic of the True Cross. Victory having been achieved, he personally restored the relic to the Church of the Holy Sepulcher. Today’s feast, the Exaltation of the Holy Cross, commemorates these events.
Heraclius rode down the Mount of Olives, mounted on his royal palfrey and arrayed in imperial regalia, intending to enter the city by the gate through which Christ had passed on His way to Crucifixion. But suddenly the stones of the gateway fell down and locked together, forming an unbroken wall. To the amazement of everyone, an angel of the Lord, carrying a cross in his hands, appeared above the wall and said: When the King of heaven passed through this gate to suffer death, there was no royal pomp; he rode a lowly ass, to leave an example of humility to his worshippers.... With those words the angel vanished. The emperor shed tears, took off his boots and stripped down to his shirt, received the cross of the Lord into his hands, and humbly carried it toward the gate. The hardness of the stones felt the force of a command from heaven, and the gateway raised itself from the ground and opened wide to allow passage to those entering.Here is a lesson for those who seek, as I do, to reintroduce the traditions; no project, even a righteous one, will meet divine favor unless it is undertaken with humility. It is not the artist that is to be arrayed, celebrated and exalted. God would rather brick him out of the Holy City than admit him to the ruin of his soul.
There stood on a lofty stone at the gates of her house a bronze figure of a woman, bending on her knee and stretching forth her hands like a suppliant, while opposite to this there was another of the same material, an upright figure of a man, clothed in comely fashion in a double cloak and stretching out his hand to the woman.... This statue, they said, bore the likeness of the Lord Jesus. And it was in existence even to our day, so that we saw it with our own eyes when we stayed in the city.The statue was mutilated during the reign of Julian the Apostate; the whereabouts of its remains are unknown.
Those, therefore who dare to think or teach otherwise, or as wicked heretics to spurn the traditions of the Church and to invent some novelty, or else to reject some of those things which the Church has received (the Book of the Gospels, or the image of the cross, or the pictorial icons, or the holy relics of a martyr), or evilly and sharply to devise anything subversive of the lawful traditions of the Catholic Church ... if they be bishops or clerics, we command that they be deposed; if religious or laics, that they be cut off from communion.I do not think that anyone can honestly interpret those words that refer to the image of the cross, or the pictorial icons, or the holy relics of a martyr in an abstract sense. They refer to cults of devotion, to traditions that exist in fact. These may not be inerrant or infallible, but they nonetheless have a permanent content that endures through the centuries. They cannot be insulted, discarded or remade entirely without ruinous effect.
Men when full grown have the same number of joints that they had when children; and if there be any to which maturer age has given birth these were already present in embryo, so that nothing new is produced in them when old which was not already latent in them when children. This, then, is undoubtedly the true and legitimate rule of progress, this the established and most beautiful order of growth, that mature age ever develops in the man those parts and forms which the wisdom of the Creator had already framed beforehand in the infant. Whereas, if the human form were changed into some shape belonging to another kind, or at any rate, if the number of its limbs were increased or diminished, the result would be that the whole body would become either a wreck or a monster, or at the least would be impaired and enfeebled.Christian tradition is based on real memories of real events. Something either is part of that tradition or it is not, just as something either is part of a body or is not. If it is part of that tradition, this is evident in the law of worship and the agreement of the church fathers; these are the epistemic bridges between the age of the eyewitnesses and our own.
In contrast to the Gospel narrative which tells how, after the Resurrection, the stone was rolled away by an angel on the morning after the sabbath, Christ is almost invariably shown rising from a tomb from which the stone has already been removed. The old masters, ordinarily so scrupulous and so faithful to the letter, had a reason for thus uniting two distinct events. There is not the least doubt that they wished to recall the deep significance which was attached by the fathers to the removal of the stone. The stone before the tomb was in fact a symbol. It is, says the Glossa Ordinaria, the table of stone on which was written the Ancient Law - it is the Ancient Law itself. As in the Old Testament the spirit was hidden beneath the letter, so Christ was hidden beneath the stone.
The crowded multitude offered so much resistance to those who strove to flock in to worship and kiss the holy relics, the Nail and Crown of the Lord, that no one among the countless thousands of people because of their very density could move a foot; that no one, because of their very congestion, could do anything but stand like a marble statue, stay benumbed or, as a last resort, scream.... Moreover the brethren who were showing the tokens of the Passion of Our Lord to the visitors had to yield to their anger and rioting and many a time, having no place to turn, escaped with the relics through the windows.Abbot Suger resolved to enlarge and to rebuild substantially the abbey church; his artistic and architectural project proved epochal. Here, cross-ribbed vaults, pointed arches and flying buttresses were first combined in a new kind of architecture, the framework upon which the arts of monumental sculpture and stained glass climbed and flourished. In the windows of the abbey church, the theology of light expounded by the author of The Celestial Hierarchy, called Dionysius, was given sensible form.
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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