CASPAR FRIEDRICH The Wanderer Above the Sea of Fog Canvas Print

----------------------------------------------------------------------------------𝑪𝒂𝒔𝒑𝒂𝒓 𝑫𝒂𝒗𝒊𝒅 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉 (𝑮𝒆𝒓𝒎𝒂𝒏, 𝟏𝟕𝟕𝟒-𝟏𝟖𝟒𝟎) - 𝑻𝒉𝒆 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝑨𝒃𝒐𝒗𝒆 𝒕𝒉𝒆 𝑺𝒆𝒂 𝒐𝒇 𝑭𝒐𝒈 (𝑫𝒆𝒓 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 ü𝒃𝒆𝒓 𝒅𝒆𝒎 𝑵𝒆𝒃𝒆𝒍𝒎𝒆𝒆𝒓) - 𝟏𝟖𝟏𝟖 - 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎 - 𝑳𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆 - 𝑶𝒊𝒍 𝒐𝒏 𝒄𝒂𝒏𝒗𝒂𝒔 - 𝑯𝒊-𝑹𝒆𝒔 𝑫𝒊𝒈𝒊𝒕𝒂𝒍𝒍𝒚 𝑹𝒆𝒎𝒂𝒔𝒕𝒆𝒓𝒆𝒅 𝑽𝒆𝒓𝒔𝒊𝒐𝒏 -------------------------------------------------"𝑻𝒉𝒆 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒂𝒃𝒐𝒗𝒆 𝒕𝒉𝒆 𝑺𝒆𝒂 𝒐𝒇 𝑭𝒐𝒈" (𝒊𝒏 𝑮𝒆𝒓𝒎𝒂𝒏 𝑫𝒆𝒓 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 ü𝒃𝒆𝒓 𝒅𝒆𝒎 𝑵𝒆𝒃𝒆𝒍𝒎𝒆𝒆𝒓) 𝒊𝒔 𝒂𝒏 𝒐𝒊𝒍 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒐𝒏 𝒄𝒂𝒏𝒗𝒂𝒔 𝒃𝒚 𝒕𝒉𝒆 𝑮𝒆𝒓𝒎𝒂𝒏 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒑𝒂𝒊𝒏𝒕𝒆𝒓 𝑪𝒂𝒔𝒑𝒂𝒓 𝑫𝒂𝒗𝒊𝒅 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉, 𝒄𝒓𝒆𝒂𝒕𝒆𝒅 𝒊𝒏 𝟏𝟖𝟏𝟖, 𝒂𝒏𝒅 𝒊𝒔 𝒐𝒏𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒎𝒐𝒔𝒕 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒂𝒕𝒊𝒗𝒆 𝒘𝒐𝒓𝒌𝒔 𝒐𝒇 𝟏𝟗𝒕𝒉-𝒄𝒆𝒏𝒕𝒖𝒓𝒚 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈. 𝑨𝒕 𝒕𝒉𝒆 𝒄𝒆𝒏𝒕𝒆𝒓 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒐𝒎𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏, 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒐𝒓𝒆𝒈𝒓𝒐𝒖𝒏𝒅, 𝒂 𝒔𝒐𝒍𝒊𝒕𝒂𝒓𝒚 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒔𝒕𝒂𝒏𝒅𝒔 𝒊𝒏 𝒃𝒂𝒄𝒌𝒍𝒊𝒈𝒉𝒕 𝒐𝒏 𝒂 𝒓𝒐𝒄𝒌𝒚 𝒑𝒓𝒆𝒄𝒊𝒑𝒊𝒄𝒆, 𝒇𝒂𝒄𝒊𝒏𝒈 𝒂𝒘𝒂𝒚 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒐𝒃𝒔𝒆𝒓𝒗𝒆𝒓: 𝒉𝒆 𝒉𝒂𝒔 𝒓𝒆𝒅 𝒂𝒏𝒅 𝒘𝒊𝒏𝒅𝒔𝒘𝒆𝒑𝒕 𝒉𝒂𝒊𝒓, 𝒘𝒓𝒂𝒑𝒑𝒆𝒅 𝒊𝒏 𝒂 𝒅𝒂𝒓𝒌 𝒈𝒓𝒆𝒆𝒏 𝒐𝒗𝒆𝒓𝒄𝒐𝒂𝒕, 𝒂𝒏𝒅 𝒊𝒏 𝒉𝒊𝒔 𝒓𝒊𝒈𝒉𝒕 𝒉𝒂𝒏𝒅, 𝒓𝒆𝒔𝒕𝒊𝒏𝒈 𝒐𝒏 𝒉𝒊𝒔 𝒔𝒊𝒅𝒆, 𝒉𝒆 𝒉𝒐𝒍𝒅𝒔 𝒂 𝒘𝒂𝒍𝒌𝒊𝒏𝒈 𝒔𝒕𝒊𝒄𝒌. 𝑯𝒆 𝒊𝒔 𝒕𝒉𝒆 𝒕𝒓𝒖𝒆 𝒇𝒐𝒄𝒂𝒍 𝒂𝒏𝒅 𝒔𝒑𝒊𝒓𝒊𝒕𝒖𝒂𝒍 𝒄𝒆𝒏𝒕𝒆𝒓 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 (𝒂𝒕 𝒕𝒉𝒆 𝒄𝒆𝒏𝒕𝒆𝒓 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒐𝒓𝒌): 𝒏𝒆𝒗𝒆𝒓𝒕𝒉𝒆𝒍𝒆𝒔𝒔, 𝒗𝒆𝒓𝒚 𝒍𝒊𝒕𝒕𝒍𝒆 𝒊𝒔 𝒌𝒏𝒐𝒘𝒏 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒊𝒔 𝒎𝒂𝒏, 𝒆𝒙𝒄𝒆𝒑𝒕 𝒇𝒐𝒓 𝒉𝒊𝒔 𝒘𝒂𝒏𝒅𝒆𝒓𝒊𝒏𝒈 𝒏𝒂𝒕𝒖𝒓𝒆. 𝑨𝒄𝒄𝒐𝒓𝒅𝒊𝒏𝒈 𝒕𝒐 𝒔𝒐𝒎𝒆 𝒂𝒄𝒄𝒐𝒖𝒏𝒕𝒔, 𝒃𝒆𝒏𝒆𝒂𝒕𝒉 𝒕𝒉𝒆 𝒑𝒊𝒍𝒈𝒓𝒊𝒎'𝒔 𝒂𝒕𝒕𝒊𝒓𝒆 𝒊𝒔 𝑪𝒐𝒍𝒐𝒏𝒆𝒍 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉 𝑮𝒐𝒕𝒕𝒉𝒂𝒓𝒅 𝒗𝒐𝒏 𝒅𝒆𝒏 𝑩𝒓𝒊𝒏𝒌𝒆𝒏 𝒐𝒇 𝒕𝒉𝒆 𝑺𝒂𝒙𝒐𝒏 𝒊𝒏𝒇𝒂𝒏𝒕𝒓𝒚, 𝒂 𝒅𝒆𝒄𝒆𝒂𝒔𝒆𝒅 𝒇𝒓𝒊𝒆𝒏𝒅 𝒐𝒇 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉 𝒘𝒉𝒐𝒔𝒆 𝒎𝒆𝒎𝒐𝒓𝒚 𝒉𝒆 𝒔𝒐𝒖𝒈𝒉𝒕 𝒕𝒐 𝒑𝒓𝒆𝒔𝒆𝒓𝒗𝒆 𝒘𝒊𝒕𝒉 𝒕𝒉𝒊𝒔 𝒄𝒂𝒏𝒗𝒂𝒔. 𝑻𝒉𝒆 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒍𝒆𝒂𝒏𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒆𝒅𝒈𝒆 𝒐𝒇 𝒂 𝒄𝒐𝒍𝒅 𝒂𝒏𝒅 𝒊𝒏𝒉𝒐𝒔𝒑𝒊𝒕𝒂𝒃𝒍𝒆 𝒓𝒐𝒄𝒌𝒚 𝒔𝒑𝒖𝒓, 𝒇𝒂𝒓 𝒇𝒓𝒐𝒎 𝒂𝒏𝒚 𝒗𝒆𝒈𝒆𝒕𝒂𝒕𝒊𝒐𝒏, 𝒃𝒖𝒕 𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏𝒆𝒅 𝒊𝒏 𝒂𝒏 𝒆𝒍𝒆𝒗𝒂𝒕𝒆𝒅 𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏, 𝒂𝒍𝒍𝒐𝒘𝒊𝒏𝒈 𝒉𝒊𝒎 𝒕𝒐 𝒄𝒐𝒏𝒕𝒆𝒎𝒑𝒍𝒂𝒕𝒆 𝒕𝒉𝒆 𝒑𝒂𝒏𝒐𝒓𝒂𝒎𝒂 𝒕𝒉𝒂𝒕 𝒖𝒏𝒇𝒐𝒍𝒅𝒔 𝒃𝒆𝒇𝒐𝒓𝒆 𝒉𝒊𝒎. 𝑰𝒕 𝒊𝒔 𝒂𝒏 𝒂𝒓𝒄𝒉𝒂𝒊𝒄 𝒗𝒂𝒍𝒍𝒆𝒚 𝒘𝒊𝒕𝒉 𝒑𝒓𝒊𝒎𝒐𝒓𝒅𝒊𝒂𝒍 𝒄𝒉𝒂𝒓𝒎, 𝒔𝒉𝒓𝒐𝒖𝒅𝒆𝒅 𝒊𝒏 𝒎𝒊𝒔𝒕, 𝒂𝒔 𝒊𝒇 𝒊𝒕 𝒘𝒆𝒓𝒆 𝒕𝒉𝒆 𝒔𝒆𝒂 (𝒉𝒆𝒏𝒄𝒆 𝒕𝒉𝒆 𝒕𝒊𝒕𝒍𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒐𝒓𝒌): 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 "𝒔𝒆𝒂 𝒐𝒇 𝒇𝒐𝒈" 𝒓𝒊𝒔𝒆 𝒗𝒂𝒓𝒊𝒐𝒖𝒔 𝒃𝒐𝒍𝒅 𝒑𝒆𝒂𝒌𝒔, 𝒐𝒏 𝒘𝒉𝒊𝒄𝒉 𝒕𝒉𝒆 𝒑𝒓𝒆𝒔𝒆𝒏𝒄𝒆 𝒐𝒇 𝒕𝒓𝒆𝒆𝒔 𝒂𝒏𝒅 𝒗𝒆𝒈𝒆𝒕𝒂𝒕𝒊𝒐𝒏 𝒄𝒂𝒏 𝒃𝒆 𝒐𝒃𝒔𝒆𝒓𝒗𝒆𝒅. 𝑰𝒏 𝒕𝒉𝒆 𝒅𝒊𝒔𝒕𝒂𝒏𝒄𝒆, 𝒇𝒂𝒅𝒆𝒅 𝒎𝒐𝒖𝒏𝒕𝒂𝒊𝒏𝒔 𝒓𝒊𝒔𝒆 𝒐𝒏 𝒕𝒉𝒆 𝒍𝒆𝒇𝒕, 𝒔𝒍𝒐𝒑𝒊𝒏𝒈 𝒕𝒐𝒘𝒂𝒓𝒅𝒔 𝒕𝒉𝒆 𝒓𝒊𝒈𝒉𝒕. 𝑩𝒆𝒚𝒐𝒏𝒅, 𝒕𝒉𝒆 𝒇𝒐𝒈 𝒆𝒙𝒑𝒂𝒏𝒅𝒔 𝒊𝒏𝒅𝒆𝒇𝒊𝒏𝒊𝒕𝒆𝒍𝒚, 𝒃𝒍𝒆𝒏𝒅𝒊𝒏𝒈 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒉𝒐𝒓𝒊𝒛𝒐𝒏 𝒂𝒏𝒅 𝒃𝒆𝒄𝒐𝒎𝒊𝒏𝒈 𝒊𝒏𝒅𝒊𝒔𝒕𝒊𝒏𝒈𝒖𝒊𝒔𝒉𝒂𝒃𝒍𝒆 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒄𝒍𝒐𝒖𝒅𝒚 𝒔𝒌𝒚. "𝑻𝒉𝒆 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒂𝒃𝒐𝒗𝒆 𝒕𝒉𝒆 𝑺𝒆𝒂 𝒐𝒇 𝑭𝒐𝒈," 𝒂𝒍𝒕𝒉𝒐𝒖𝒈𝒉 𝒑𝒂𝒊𝒏𝒕𝒆𝒅 𝒊𝒏 𝒕𝒉𝒆 𝒔𝒕𝒖𝒅𝒊𝒐, 𝒓𝒆𝒑𝒓𝒐𝒅𝒖𝒄𝒆𝒔 𝒕𝒉𝒆 𝒆𝒙𝒊𝒔𝒕𝒊𝒏𝒈 𝒎𝒐𝒖𝒏𝒕𝒂𝒊𝒏 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆 𝒐𝒇 𝒕𝒉𝒆 𝑬𝒍𝒃𝒔𝒂𝒏𝒅𝒔𝒕𝒆𝒊𝒏𝒈𝒆𝒃𝒊𝒓𝒈𝒆 𝒊𝒏 𝑩𝒐𝒉𝒆𝒎𝒊𝒂. 𝑰𝒏 𝒕𝒉𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅, 𝒕𝒐 𝒕𝒉𝒆 𝒓𝒊𝒈𝒉𝒕, 𝒊𝒔 𝒕𝒉𝒆 𝒁𝒊𝒓𝒌𝒆𝒍𝒔𝒕𝒆𝒊𝒏, 𝒘𝒊𝒕𝒉 𝒊𝒕𝒔 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓𝒊𝒔𝒕𝒊𝒄 𝒄𝒚𝒍𝒊𝒏𝒅𝒓𝒊𝒄𝒂𝒍 𝒔𝒉𝒂𝒑𝒆, 𝒘𝒉𝒊𝒍𝒆 𝒐𝒏 𝒕𝒉𝒆 𝒍𝒆𝒇𝒕, 𝒕𝒉𝒆 𝑹𝒐𝒔𝒆𝒏𝒃𝒆𝒓𝒈 𝒊𝒔 𝒐𝒖𝒕𝒍𝒊𝒏𝒆𝒅; 𝒕𝒉𝒆 𝒓𝒐𝒄𝒌𝒔 𝒐𝒏 𝒘𝒉𝒊𝒄𝒉 𝒕𝒉𝒆 𝒕𝒓𝒂𝒗𝒆𝒍𝒆𝒓 𝒔𝒕𝒂𝒏𝒅𝒔 𝒃𝒆𝒍𝒐𝒏𝒈 𝒕𝒐 𝒂 𝒈𝒓𝒐𝒖𝒑 𝒄𝒂𝒍𝒍𝒆𝒅 𝑲𝒂𝒊𝒔𝒆𝒓𝒌𝒓𝒐𝒏𝒆. 𝑻𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈, 𝒎𝒆𝒂𝒔𝒖𝒓𝒊𝒏𝒈 𝟗𝟓 𝒄𝒎 𝒊𝒏 𝒉𝒆𝒊𝒈𝒉𝒕 𝒂𝒏𝒅 𝟕𝟓 𝒄𝒎 𝒊𝒏 𝒘𝒊𝒅𝒕𝒉, 𝒉𝒂𝒔 𝒂 𝒗𝒆𝒓𝒕𝒊𝒄𝒂𝒍 𝒅𝒆𝒗𝒆𝒍𝒐𝒑𝒎𝒆𝒏𝒕 𝒕𝒉𝒂𝒕 𝒓𝒆𝒋𝒆𝒄𝒕𝒔 𝒕𝒉𝒆 𝒖𝒔𝒖𝒂𝒍 𝒉𝒐𝒓𝒊𝒛𝒐𝒏𝒕𝒂𝒍 𝒑𝒓𝒐𝒑𝒐𝒓𝒕𝒊𝒐𝒏𝒔; 𝒕𝒉𝒆 𝒗𝒆𝒓𝒕𝒊𝒄𝒂𝒍𝒊𝒕𝒚 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒐𝒎𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏 𝒂𝒍𝒔𝒐 𝒔𝒆𝒓𝒗𝒆𝒔 𝒕𝒐 𝒆𝒎𝒑𝒉𝒂𝒔𝒊𝒛𝒆 𝒕𝒉𝒆 𝒗𝒆𝒓𝒕𝒊𝒄𝒂𝒍𝒊𝒕𝒚 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒆𝒏𝒕𝒓𝒂𝒍 𝒑𝒐𝒓𝒕𝒓𝒂𝒚𝒆𝒅 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓. 𝑨𝒏𝒐𝒕𝒉𝒆𝒓 𝒑𝒆𝒄𝒖𝒍𝒊𝒂𝒓𝒊𝒕𝒚 𝒐𝒇 "𝑻𝒉𝒆 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒂𝒃𝒐𝒗𝒆 𝒕𝒉𝒆 𝑺𝒆𝒂 𝒐𝒇 𝑭𝒐𝒈" 𝒊𝒔 𝒕𝒉𝒆 𝒑𝒓𝒆𝒔𝒆𝒏𝒄𝒆 𝒐𝒇 𝒕𝒉𝒆 𝑹ü𝒄𝒌𝒆𝒏𝒇𝒊𝒈𝒖𝒓: 𝒂 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓 𝒔𝒆𝒆𝒏 𝒇𝒓𝒐𝒎 𝒃𝒆𝒉𝒊𝒏𝒅, 𝒍𝒐𝒔𝒕 𝒊𝒏 𝒂𝒃𝒔𝒐𝒓𝒃𝒆𝒅 𝒄𝒐𝒏𝒕𝒆𝒎𝒑𝒍𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒏𝒂𝒕𝒖𝒓𝒆. 𝑻𝒉𝒊𝒔 𝒇𝒊𝒈𝒖𝒓𝒂𝒕𝒊𝒗𝒆 𝒅𝒆𝒗𝒊𝒄𝒆 𝒂𝒍𝒍𝒐𝒘𝒔 𝒕𝒉𝒆 𝒐𝒃𝒔𝒆𝒓𝒗𝒆𝒓 𝒕𝒐 𝒊𝒅𝒆𝒏𝒕𝒊𝒇𝒚 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒇𝒊𝒈𝒖𝒓𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒂𝒏𝒅 𝒑𝒆𝒏𝒆𝒕𝒓𝒂𝒕𝒆 𝒉𝒊𝒔 𝒑𝒔𝒚𝒄𝒉𝒐𝒍𝒐𝒈𝒊𝒄𝒂𝒍 𝒂𝒏𝒅 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍 𝒔𝒊𝒕𝒖𝒂𝒕𝒊𝒐𝒏. 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉'𝒔 𝒑𝒂𝒍𝒆𝒕𝒕𝒆 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒘𝒐𝒓𝒌 𝒊𝒔 𝒄𝒐𝒎𝒑𝒐𝒔𝒆𝒅 𝒐𝒇 𝒖𝒏𝒖𝒔𝒖𝒂𝒍𝒍𝒚 𝒃𝒓𝒊𝒈𝒉𝒕 𝒕𝒐𝒏𝒆𝒔, 𝒊𝒏𝒄𝒍𝒖𝒅𝒊𝒏𝒈 𝒂 𝒍𝒖𝒎𝒊𝒏𝒐𝒖𝒔 𝒎𝒊𝒙 𝒐𝒇 𝒃𝒍𝒖𝒆𝒔, 𝒈𝒓𝒂𝒚𝒔, 𝒑𝒊𝒏𝒌𝒔, 𝒂𝒏𝒅 𝒚𝒆𝒍𝒍𝒐𝒘𝒔 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒔𝒆𝒂 𝒐𝒇 𝒇𝒐𝒈, 𝒄𝒐𝒏𝒕𝒓𝒂𝒔𝒕𝒆𝒅 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒅𝒖𝒍𝒍 𝒂𝒏𝒅 𝒎𝒖𝒅𝒅𝒚 𝒉𝒖𝒆𝒔 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒓𝒐𝒄𝒌𝒔. 𝑻𝒉𝒊𝒔 𝒔𝒕𝒓𝒐𝒏𝒈 𝒄𝒉𝒓𝒐𝒎𝒂𝒕𝒊𝒄 𝒄𝒐𝒏𝒕𝒓𝒂𝒔𝒕 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒍𝒊𝒈𝒉𝒕 𝒂𝒏𝒅 𝒅𝒂𝒓𝒌 𝒕𝒐𝒏𝒆𝒔 𝒆𝒏𝒉𝒂𝒏𝒄𝒆𝒔 𝒕𝒉𝒆 𝒐𝒑𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒕𝒉𝒆 𝒓𝒆𝒂𝒍 𝒆𝒍𝒆𝒎𝒆𝒏𝒕𝒔 (𝒕𝒉𝒆 𝒎𝒂𝒏 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒓𝒐𝒄𝒌𝒔), 𝒆𝒙𝒆𝒄𝒖𝒕𝒆𝒅 𝒘𝒊𝒕𝒉 𝒂𝒏𝒂𝒍𝒚𝒕𝒊𝒄𝒂𝒍 𝒑𝒓𝒆𝒄𝒊𝒔𝒊𝒐𝒏, 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒊𝒏𝒅𝒆𝒇𝒊𝒏𝒊𝒕𝒆 𝒆𝒍𝒆𝒎𝒆𝒏𝒕𝒔 (𝒕𝒉𝒆 𝒔𝒆𝒂 𝒐𝒇 𝒄𝒍𝒐𝒖𝒅𝒔), 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓𝒊𝒛𝒆𝒅 𝒃𝒚 𝒂 𝒗𝒆𝒓𝒚 𝒍𝒊𝒒𝒖𝒊𝒅, 𝒂𝒍𝒎𝒐𝒔𝒕 𝒗𝒂𝒑𝒐𝒓𝒐𝒖𝒔 𝒃𝒓𝒖𝒔𝒉𝒔𝒕𝒓𝒐𝒌𝒆. 𝑭𝒊𝒏𝒂𝒍𝒍𝒚, 𝒕𝒉𝒆 𝒍𝒊𝒈𝒉𝒕 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒆𝒎𝒂𝒏𝒂𝒕𝒆 𝒇𝒓𝒐𝒎 𝒂 𝒔𝒐𝒖𝒓𝒄𝒆 𝒃𝒆𝒏𝒆𝒂𝒕𝒉 𝒕𝒉𝒆 𝒇𝒐𝒓𝒆𝒈𝒓𝒐𝒖𝒏𝒅 𝒓𝒐𝒄𝒌𝒔, 𝒇𝒍𝒐𝒐𝒅𝒊𝒏𝒈 𝒕𝒉𝒆 𝒔𝒄𝒆𝒏𝒆 𝒂𝒏𝒅 𝒊𝒍𝒍𝒖𝒎𝒊𝒏𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒎𝒊𝒔𝒕𝒚 𝒂𝒃𝒚𝒔𝒔 𝒊𝒏 𝒔𝒐𝒎𝒆 𝒘𝒂𝒚. 𝑰𝒏 𝒕𝒉𝒆 𝒇𝒊𝒈𝒖𝒓𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒊𝒍𝒈𝒓𝒊𝒎 𝒄𝒂𝒑𝒕𝒊𝒗𝒂𝒕𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒎𝒊𝒔𝒕𝒚 𝒂𝒃𝒚𝒔𝒔, 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉 𝒎𝒂𝒔𝒕𝒆𝒓𝒇𝒖𝒍𝒍𝒚 𝒔𝒚𝒏𝒕𝒉𝒆𝒔𝒊𝒛𝒆𝒅 𝒊𝒅𝒆𝒂𝒔 𝒂𝒏𝒅 𝒔𝒖𝒈𝒈𝒆𝒔𝒕𝒊𝒐𝒏𝒔 𝒕𝒚𝒑𝒊𝒄𝒂𝒍 𝒐𝒇 𝒉𝒊𝒔 𝒕𝒊𝒎𝒆, 𝒎𝒂𝒌𝒊𝒏𝒈 "𝑻𝒉𝒆 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒂𝒃𝒐𝒗𝒆 𝒕𝒉𝒆 𝑺𝒆𝒂 𝒐𝒇 𝑭𝒐𝒈" 𝒂𝒏 𝒊𝒄𝒐𝒏 𝒐𝒇 𝑮𝒆𝒓𝒎𝒂𝒏 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎. 𝑰𝒏𝒅𝒆𝒆𝒅, 𝒕𝒉𝒆 𝒘𝒐𝒓𝒌 𝒓𝒂𝒅𝒊𝒂𝒕𝒆𝒔 𝒎𝒖𝒍𝒕𝒊𝒇𝒂𝒄𝒆𝒕𝒆𝒅 𝒎𝒆𝒔𝒔𝒂𝒈𝒆𝒔, 𝒈𝒍𝒐𝒓𝒊𝒇𝒚𝒊𝒏𝒈 𝒕𝒉𝒆𝒎𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒊𝒏𝒇𝒊𝒏𝒊𝒕𝒆, 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆, 𝒕𝒉𝒆 𝒅𝒊𝒗𝒊𝒏𝒆, 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒘𝒂𝒏𝒅𝒆𝒓𝒊𝒏𝒈. 𝑰𝒕 𝒂𝒕𝒕𝒆𝒔𝒕𝒔 𝒕𝒐 𝒕𝒉𝒆 𝒔𝒆𝒏𝒔𝒆 𝒐𝒇 𝒊𝒎𝒑𝒆𝒓𝒇𝒆𝒄𝒕𝒊𝒐𝒏, 𝒉𝒖𝒎𝒊𝒍𝒊𝒕𝒂𝒔 (𝒉𝒖𝒎𝒊𝒍𝒊𝒕𝒚), 𝒆𝒙𝒑𝒆𝒓𝒊𝒆𝒏𝒄𝒆𝒅 𝒃𝒚 𝒉𝒖𝒎𝒂𝒏𝒔 𝒅𝒖𝒓𝒊𝒏𝒈 𝒕𝒉𝒆 𝒄𝒐𝒏𝒕𝒆𝒎𝒑𝒍𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝑰𝒏𝒇𝒊𝒏𝒊𝒕𝒆, 𝒐𝒓 𝑮𝒐𝒅, 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒆𝒅 𝒉𝒆𝒓𝒆 𝒃𝒚 𝒕𝒉𝒆 𝒊𝒎𝒎𝒆𝒏𝒔𝒆 𝒔𝒆𝒂 𝒐𝒇 𝒇𝒐𝒈 𝒕𝒉𝒂𝒕 𝒓𝒆𝒗𝒆𝒂𝒍𝒔 𝒕𝒉𝒆 𝒗𝒊𝒆𝒘 𝒐𝒇 𝒕𝒉𝒆 𝒖𝒏𝒅𝒆𝒓𝒍𝒚𝒊𝒏𝒈 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆, 𝒘𝒉𝒊𝒄𝒉 𝒊𝒔 𝒍𝒊𝒇𝒆. 𝑻𝒉𝒆 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒕𝒓𝒂𝒗𝒆𝒍𝒆𝒓 𝒊𝒔 𝒍𝒐𝒔𝒕 𝒊𝒏 𝒇𝒓𝒐𝒏𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒇𝒐𝒈𝒈𝒚 𝒂𝒃𝒚𝒔𝒔 𝒊𝒏 𝒂 𝒄𝒐𝒏𝒕𝒆𝒎𝒑𝒍𝒂𝒕𝒊𝒗𝒆 𝒂𝒕𝒕𝒊𝒕𝒖𝒅𝒆, 𝒔𝒆𝒆𝒏 𝒂𝒔 𝒂𝒏 𝒆𝒙𝒕𝒓𝒆𝒎𝒆 𝒊𝒏𝒏𝒆𝒓 𝒂𝒏𝒅 𝒔𝒑𝒊𝒓𝒊𝒕𝒖𝒂𝒍 𝒆𝒙𝒑𝒆𝒓𝒊𝒆𝒏𝒄𝒆: 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒘𝒂𝒚, 𝒉𝒆 𝒓𝒖𝒕𝒉𝒍𝒆𝒔𝒔𝒍𝒚 𝒊𝒏𝒗𝒆𝒔𝒕𝒊𝒈𝒂𝒕𝒆𝒔 𝒉𝒊𝒔 𝒔𝒐𝒖𝒍, 𝒉𝒊𝒔 𝒇𝒂𝒊𝒕𝒉, 𝒘𝒊𝒕𝒉 𝒂𝒍𝒍 𝒊𝒕𝒔 𝒊𝒏𝒔𝒆𝒄𝒖𝒓𝒊𝒕𝒊𝒆𝒔, 𝒎𝒊𝒔𝒕𝒂𝒌𝒆𝒔, 𝒅𝒐𝒖𝒃𝒕𝒔, 𝒂𝒏𝒅 𝒄𝒆𝒓𝒕𝒂𝒊𝒏𝒕𝒊𝒆𝒔. 𝑰𝒕 𝒊𝒔 𝒕𝒉𝒆 𝒉𝒆𝒓𝒐𝒊𝒄 𝒊𝒔𝒐𝒍𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒕𝒉𝒂𝒕 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒕𝒉𝒆 𝒋𝒐𝒖𝒓𝒏𝒆𝒚 𝒐𝒇 𝒉𝒖𝒎𝒂𝒏 𝒍𝒊𝒇𝒆 𝒂𝒏𝒅 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒆𝒔 𝒕𝒉𝒆 𝒐𝒎𝒏𝒊𝒑𝒓𝒆𝒔𝒆𝒏𝒕 𝒑𝒓𝒆𝒔𝒆𝒏𝒄𝒆 𝒐𝒇 𝑮𝒐𝒅, 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆, 𝒕𝒉𝒆 𝒎𝒊𝒙𝒆𝒅 𝒇𝒆𝒆𝒍𝒊𝒏𝒈 𝒐𝒇 𝒂𝒘𝒆 𝒂𝒏𝒅 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒑𝒆𝒓𝒄𝒆𝒊𝒗𝒆𝒅 𝒃𝒚 𝒉𝒖𝒎𝒂𝒏𝒔 𝒘𝒉𝒆𝒏 𝒕𝒉𝒆𝒚 𝒃𝒆𝒄𝒐𝒎𝒆 𝒂𝒘𝒂𝒓𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒂𝒔𝒕𝒐𝒏𝒊𝒔𝒉𝒊𝒏𝒈 𝒈𝒓𝒂𝒏𝒅𝒆𝒖𝒓 𝒐𝒇 𝒏𝒂𝒕𝒖𝒓𝒆. 𝑻𝒉𝒊𝒔 𝒊𝒓𝒓𝒆𝒔𝒊𝒔𝒕𝒊𝒃𝒍𝒆 𝒑𝒐𝒘𝒆𝒓 𝒅𝒐𝒆𝒔 𝒏𝒐𝒕 𝒂𝒏𝒏𝒊𝒉𝒊𝒍𝒂𝒕𝒆 𝒕𝒉𝒆 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒃𝒖𝒕 𝒓𝒂𝒕𝒉𝒆𝒓 𝒑𝒓𝒐𝒎𝒑𝒕𝒔 𝒉𝒊𝒎 𝒕𝒐 𝒓𝒆𝒇𝒍𝒆𝒄𝒕 𝒑𝒉𝒊𝒍𝒐𝒔𝒐𝒑𝒉𝒊𝒄𝒂𝒍𝒍𝒚 𝒐𝒏 𝒉𝒊𝒔 𝒐𝒘𝒏 𝒄𝒐𝒏𝒅𝒊𝒕𝒊𝒐𝒏, 𝒂𝒍𝒍𝒐𝒘𝒊𝒏𝒈 𝒉𝒊𝒎 𝒕𝒐 𝒖𝒏𝒊𝒕𝒆 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒅𝒊𝒗𝒊𝒏𝒆. 𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉'𝒔 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆𝒔 𝒂𝒓𝒆 𝒍𝒐𝒂𝒅𝒆𝒅 𝒘𝒊𝒕𝒉 𝒓𝒆𝒍𝒊𝒈𝒊𝒐𝒖𝒔 𝒔𝒚𝒎𝒃𝒐𝒍𝒊𝒔𝒎, 𝒃𝒖𝒕 𝒊𝒎𝒑𝒓𝒊𝒔𝒐𝒏𝒆𝒅 𝒊𝒏 𝒑𝒐𝒊𝒈𝒏𝒂𝒏𝒕 𝒎𝒆𝒍𝒂𝒏𝒄𝒉𝒐𝒍𝒚, 𝒂𝒔 𝒂 𝒒𝒖𝒆𝒔𝒕𝒊𝒐𝒏 𝒂𝒃𝒐𝒖𝒕 𝒘𝒉𝒐 𝒎𝒂𝒏 𝒊𝒔; 𝒕𝒉𝒖𝒔, 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆 𝒊𝒏 "𝑻𝒉𝒆 𝑾𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒂𝒃𝒐𝒗𝒆 𝒕𝒉𝒆 𝑺𝒆𝒂 𝒐𝒇 𝑭𝒐𝒈" 𝒎𝒂𝒏𝒊𝒇𝒆𝒔𝒕𝒔 𝒊𝒕𝒔𝒆𝒍𝒇 𝒊𝒏 𝒕𝒉𝒆 𝒏𝒂𝒕𝒖𝒓𝒂𝒍 𝒄𝒐𝒏𝒕𝒆𝒙𝒕, 𝒘𝒉𝒊𝒄𝒉 𝒊𝒔 𝒄𝒓𝒆𝒂𝒕𝒊𝒐𝒏, 𝒊𝒈𝒏𝒊𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓'𝒔 𝒔𝒐𝒖𝒍 𝒂𝒏𝒅 𝒂𝒍𝒍𝒐𝒘𝒊𝒏𝒈 𝒉𝒊𝒎 𝒕𝒐 𝒓𝒆𝒂𝒄𝒉 𝑮𝒐𝒅. 𝑨𝒔 𝑴𝒂𝒓𝒄𝒐 𝑩𝒐𝒏𝒂 𝑪𝒂𝒔𝒕𝒆𝒍𝒍𝒐𝒕𝒕𝒊 𝒘𝒓𝒐𝒕𝒆 𝒊𝒏 "𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉: 𝒖𝒏 𝒗𝒊𝒂𝒏𝒅𝒂𝒏𝒕𝒆 𝒔𝒖 𝒖𝒏 𝒎𝒂𝒓𝒆 𝒅𝒊 𝒍𝒖𝒄𝒆" (𝑭𝒓𝒊𝒆𝒅𝒓𝒊𝒄𝒉: 𝒂 𝒘𝒂𝒏𝒅𝒆𝒓𝒆𝒓 𝒐𝒏 𝒂 𝒔𝒆𝒂 𝒐𝒇 𝒍𝒊𝒈𝒉𝒕): "𝑻𝒉𝒆 𝒓𝒆𝒍𝒂𝒕𝒊𝒐𝒏𝒔𝒉𝒊𝒑 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆 𝒊𝒏 𝒉𝒊𝒎 𝒊𝒔 𝒄𝒐𝒍𝒐𝒓𝒆𝒅 𝒃𝒚 𝒂𝒏 𝒖𝒏𝒖𝒔𝒖𝒂𝒍 𝒆𝒍𝒆𝒎𝒆𝒏𝒕: 𝒕𝒉𝒆 𝒎𝒐𝒗𝒆𝒅 𝒑𝒂𝒓𝒕𝒊𝒄𝒊𝒑𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒖𝒃𝒋𝒆𝒄𝒕, 𝒕𝒉𝒆 𝒔𝒆𝒏𝒔𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒊𝒏𝒇𝒊𝒏𝒊𝒕𝒆 𝒂𝒏𝒅 𝒎𝒚𝒔𝒕𝒆𝒓𝒚, 𝒘𝒉𝒊𝒄𝒉 𝒃𝒓𝒊𝒏𝒈𝒔 𝒘𝒊𝒕𝒉 𝒊𝒕 𝒔𝒚𝒎𝒃𝒐𝒍𝒔, 𝒆𝒗𝒐𝒄𝒂𝒕𝒊𝒐𝒏𝒔, 𝒂𝒍𝒍𝒆𝒈𝒐𝒓𝒊𝒆𝒔. 𝑶𝒇𝒕𝒆𝒏, 𝒏𝒂𝒕𝒖𝒓𝒆 𝒊𝒕𝒔𝒆𝒍𝒇 𝒕𝒂𝒌𝒆𝒔 𝒄𝒆𝒏𝒕𝒆𝒓 𝒔𝒕𝒂𝒈𝒆, 𝒃𝒐𝒕𝒉 𝒅𝒖𝒆 𝒕𝒐 𝒕𝒉𝒆 𝒂𝒃𝒔𝒆𝒏𝒄𝒆 𝒐𝒇 𝒎𝒂𝒏 𝒂𝒏𝒅 𝒃𝒆𝒄𝒂𝒖𝒔𝒆 𝒆𝒗𝒆𝒏 𝒘𝒉𝒆𝒏 𝒉𝒆 𝒊𝒔 𝒑𝒓𝒆𝒔𝒆𝒏𝒕, 𝒉𝒆 𝒎𝒆𝒓𝒈𝒆𝒔 𝒘𝒊𝒕𝒉 𝒏𝒂𝒕𝒖𝒓𝒆 𝒊𝒏 𝒂 𝒘𝒉𝒐𝒍𝒆 𝒕𝒉𝒂𝒕 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒆𝒔 𝒕𝒉𝒆 𝒂𝒃𝒔𝒐𝒍𝒖𝒕𝒆." 𝑻𝒉𝒆 𝒕𝒉𝒆𝒎𝒆 𝒐𝒇 𝒘𝒂𝒏𝒅𝒆𝒓𝒊𝒏𝒈 𝒊𝒔 𝒄𝒐𝒎𝒃𝒊𝒏𝒆𝒅 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒊𝒕𝒚 𝒐𝒇 𝒄𝒓𝒆𝒂𝒕𝒊𝒐𝒏. 𝑻𝒉𝒆 𝒎𝒂𝒏 𝒑𝒐𝒓𝒕𝒓𝒂𝒚𝒆𝒅 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈, 𝒃𝒆𝒔𝒊𝒅𝒆𝒔 𝒃𝒆𝒊𝒏𝒈 𝒔𝒐𝒍𝒊𝒕𝒂𝒓𝒚, 𝒊𝒔 𝒂𝒍𝒔𝒐 𝒂𝒏 𝒉𝒐𝒎𝒐 𝒗𝒊𝒂𝒕𝒐𝒓, 𝒂 𝒑𝒊𝒍𝒈𝒓𝒊𝒎 𝒊𝒏 𝒔𝒆𝒂𝒓𝒄𝒉 𝒐𝒇 𝒔𝒑𝒊𝒓𝒊𝒕𝒖𝒂𝒍 𝒂𝒏𝒔𝒘𝒆𝒓𝒔 (𝒂𝒔 𝒅𝒆𝒅𝒖𝒄𝒆𝒅 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒘𝒂𝒍𝒌𝒊𝒏𝒈 𝒔𝒕𝒊𝒄𝒌, 𝒂𝒍𝒔𝒐 𝒂 𝒅𝒊𝒗𝒊𝒏𝒆 𝒔𝒖𝒑𝒑𝒐𝒓𝒕): 𝒕𝒉𝒊𝒔 𝒄𝒐𝒏𝒅𝒊𝒕𝒊𝒐𝒏 𝒄𝒐𝒏𝒏𝒆𝒄𝒕𝒔 𝒕𝒐 𝒕𝒉𝒆 𝒇𝒊𝒈𝒖𝒓𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒆𝒙𝒊𝒍𝒆𝒅 "𝒃𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝒐𝒇 𝒇𝒂𝒎𝒆 𝒂𝒏𝒅 𝒎𝒊𝒔𝒇𝒐𝒓𝒕𝒖𝒏𝒆," 𝒕𝒚𝒑𝒊𝒄𝒂𝒍 𝒐𝒇 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒄𝒖𝒍𝒕𝒖𝒓𝒆.