FRANCESCO HAYEZ - THE KISS (il Bacio) - 1859 - Canvas Print

----------------------------------------------------------------------------------𝑭𝒓𝒂𝒏𝒄𝒆𝒔𝒄𝒐 𝑯𝒂𝒚𝒆𝒛 (𝑰𝒕𝒂𝒍𝒊𝒂𝒏, 𝟏𝟕𝟗𝟏-𝟏𝟖𝟖𝟐) - 𝑻𝑯𝑬 𝑲𝑰𝑺𝑺 - 𝟏𝟖𝟓𝟗 - 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎 - 𝑮𝒆𝒏𝒓𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 - 𝑶𝒊𝒍 𝒐𝒏 𝒄𝒂𝒏𝒗𝒂𝒔 ---- 𝑯𝒊-𝑹𝒆𝒔 𝑫𝒊𝒈𝒊𝒕𝒂𝒍𝒍𝒚 𝑹𝒆𝒎𝒂𝒔𝒕𝒆𝒓𝒆𝒅 𝑽𝒆𝒓𝒔𝒊𝒐𝒏 ---------------------------------------------------------------------------------------"𝑻𝒉𝒆 𝑲𝒊𝒔𝒔" - 𝑬𝒑𝒊𝒔𝒐𝒅𝒆 𝒐𝒇 𝒀𝒐𝒖𝒕𝒉. 𝑪𝒖𝒔𝒕𝒐𝒎𝒔 𝒐𝒇 𝒕𝒉𝒆 𝟏𝟒𝒕𝒉 𝑪𝒆𝒏𝒕𝒖𝒓𝒚, 𝒃𝒆𝒕𝒕𝒆𝒓 𝒌𝒏𝒐𝒘𝒏 𝒂𝒔 "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔," 𝒊𝒔 𝒂𝒏 𝒐𝒊𝒍 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒐𝒏 𝒄𝒂𝒏𝒗𝒂𝒔 (𝟏𝟏𝟐×𝟖𝟖 𝒄𝒎) 𝒃𝒚 𝒕𝒉𝒆 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝒑𝒂𝒊𝒏𝒕𝒆𝒓 𝑭𝒓𝒂𝒏𝒄𝒆𝒔𝒄𝒐 𝑯𝒂𝒚𝒆𝒛, 𝒄𝒓𝒆𝒂𝒕𝒆𝒅 𝒊𝒏 𝟏𝟖𝟓𝟗 𝒂𝒏𝒅 𝒉𝒐𝒖𝒔𝒆𝒅 𝒂𝒕 𝒕𝒉𝒆 𝑷𝒊𝒏𝒂𝒄𝒐𝒕𝒆𝒄𝒂 𝒅𝒊 𝑩𝒓𝒆𝒓𝒂. 𝑯𝒊𝒔𝒕𝒐𝒓𝒊𝒄𝒂𝒍 𝑪𝒐𝒏𝒕𝒆𝒙𝒕: 𝑺𝒆𝒕 𝒊𝒏 𝒂 𝒎𝒆𝒅𝒊𝒆𝒗𝒂𝒍 𝒄𝒐𝒏𝒕𝒆𝒙𝒕, 𝒊𝒕 𝒅𝒆𝒑𝒊𝒄𝒕𝒔 𝒕𝒘𝒐 𝒚𝒐𝒖𝒏𝒈 𝒍𝒐𝒗𝒆𝒓𝒔 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒂𝒕𝒆𝒍𝒚 𝒌𝒊𝒔𝒔𝒊𝒏𝒈. 𝑫𝒖𝒆 𝒕𝒐 𝒊𝒕𝒔 𝒐𝒗𝒆𝒓𝒘𝒉𝒆𝒍𝒎𝒊𝒏𝒈 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍 𝒄𝒉𝒂𝒓𝒈𝒆, 𝒓𝒆𝒇𝒊𝒏𝒆𝒅 𝒔𝒄𝒆𝒏𝒐𝒈𝒓𝒂𝒑𝒉𝒚, 𝒂𝒏𝒅 𝒔𝒕𝒓𝒐𝒏𝒈 𝒄𝒊𝒗𝒊𝒄 𝒗𝒂𝒍𝒖𝒆 (𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒊𝒔 𝒇𝒊𝒍𝒍𝒆𝒅 𝒘𝒊𝒕𝒉 𝑹𝒊𝒔𝒐𝒓𝒈𝒊𝒎𝒆𝒏𝒕𝒐 𝒊𝒎𝒑𝒖𝒍𝒔𝒆𝒔, 𝒔𝒚𝒎𝒃𝒐𝒍𝒊𝒛𝒊𝒏𝒈 𝒍𝒐𝒗𝒆 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒉𝒐𝒎𝒆𝒍𝒂𝒏𝒅 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒔𝒕𝒓𝒖𝒈𝒈𝒍𝒆 𝒂𝒈𝒂𝒊𝒏𝒔𝒕 𝒇𝒐𝒓𝒆𝒊𝒈𝒏𝒆𝒓𝒔), 𝒕𝒉𝒆 𝒘𝒐𝒓𝒌 𝒊𝒔 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓𝒆𝒅 𝒕𝒉𝒆 𝒎𝒂𝒏𝒊𝒇𝒆𝒔𝒕𝒐 𝒐𝒇 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒂𝒓𝒕. 𝑭𝒐𝒓 𝒕𝒉𝒊𝒔 𝒓𝒆𝒂𝒔𝒐𝒏, 𝒊𝒕 𝒂𝒄𝒉𝒊𝒆𝒗𝒆𝒅 𝒈𝒓𝒆𝒂𝒕 𝒑𝒐𝒑𝒖𝒍𝒂𝒓 𝒔𝒖𝒄𝒄𝒆𝒔𝒔, 𝒑𝒓𝒐𝒎𝒑𝒕𝒊𝒏𝒈 𝑯𝒂𝒚𝒆𝒛 𝒕𝒐 𝒓𝒆𝒑𝒓𝒐𝒅𝒖𝒄𝒆 𝒊𝒕 𝒊𝒏 𝒕𝒘𝒐 𝒂𝒅𝒅𝒊𝒕𝒊𝒐𝒏𝒂𝒍 𝒗𝒆𝒓𝒔𝒊𝒐𝒏𝒔 𝒘𝒊𝒕𝒉 𝒔𝒍𝒊𝒈𝒉𝒕 𝒎𝒐𝒅𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏𝒔. 𝑭𝒐𝒍𝒍𝒐𝒘𝒊𝒏𝒈 𝒕𝒉𝒆 𝑪𝒐𝒏𝒈𝒓𝒆𝒔𝒔 𝒐𝒇 𝑽𝒊𝒆𝒏𝒏𝒂, 𝑰𝒕𝒂𝒍𝒚, 𝒘𝒉𝒊𝒄𝒉 𝒑𝒍𝒂𝒚𝒆𝒅 𝒂 𝒎𝒂𝒓𝒈𝒊𝒏𝒂𝒍 𝒓𝒐𝒍𝒆 𝒄𝒐𝒎𝒑𝒂𝒓𝒆𝒅 𝒕𝒐 𝒐𝒕𝒉𝒆𝒓 𝑬𝒖𝒓𝒐𝒑𝒆𝒂𝒏 𝒑𝒐𝒘𝒆𝒓𝒔—𝑲𝒍𝒆𝒎𝒆𝒏𝒔 𝒗𝒐𝒏 𝑴𝒆𝒕𝒕𝒆𝒓𝒏𝒊𝒄𝒉 𝒇𝒂𝒎𝒐𝒖𝒔𝒍𝒚 𝒄𝒂𝒍𝒍𝒆𝒅 𝒊𝒕 𝒂 𝒎𝒆𝒓𝒆 "𝒈𝒆𝒐𝒈𝒓𝒂𝒑𝒉𝒊𝒄𝒂𝒍 𝒆𝒙𝒑𝒓𝒆𝒔𝒔𝒊𝒐𝒏"—𝒘𝒂𝒔 𝒅𝒊𝒗𝒊𝒅𝒆𝒅 𝒊𝒏𝒕𝒐 𝒗𝒂𝒓𝒊𝒐𝒖𝒔 𝒔𝒕𝒂𝒕𝒆𝒔, 𝒂𝒍𝒍 𝒅𝒊𝒓𝒆𝒄𝒕𝒍𝒚 𝒐𝒓 𝒊𝒏𝒅𝒊𝒓𝒆𝒄𝒕𝒍𝒚 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝑯𝒂𝒃𝒔𝒃𝒖𝒓𝒈𝒔 𝒐𝒇 𝑨𝒖𝒔𝒕𝒓𝒊𝒂. 𝑻𝒉𝒊𝒔 𝒇𝒓𝒂𝒈𝒎𝒆𝒏𝒕𝒂𝒕𝒊𝒐𝒏 𝒇𝒖𝒆𝒍𝒆𝒅 𝒕𝒉𝒆 𝒓𝒊𝒔𝒆 𝒐𝒇 𝒗𝒂𝒓𝒊𝒐𝒖𝒔 𝒔𝒆𝒄𝒓𝒆𝒕 𝒔𝒐𝒄𝒊𝒆𝒕𝒊𝒆𝒔 𝒘𝒊𝒕𝒉 𝒅𝒆𝒎𝒐𝒄𝒓𝒂𝒕𝒊𝒄-𝒓𝒂𝒅𝒊𝒄𝒂𝒍 𝒍𝒆𝒂𝒏𝒊𝒏𝒈𝒔, 𝒔𝒖𝒄𝒉 𝒂𝒔 𝒕𝒉𝒆 𝑪𝒂𝒓𝒃𝒐𝒏𝒆𝒓𝒊𝒂 𝒂𝒏𝒅 𝑮𝒊𝒐𝒗𝒊𝒏𝒆 𝑰𝒕𝒂𝒍𝒊𝒂. 𝑫𝒆𝒔𝒑𝒊𝒕𝒆 𝒕𝒉𝒆𝒊𝒓 𝒖𝒍𝒕𝒊𝒎𝒂𝒕𝒆 𝒅𝒆𝒇𝒆𝒂𝒕, 𝒕𝒉𝒆𝒔𝒆 𝒂𝒔𝒔𝒐𝒄𝒊𝒂𝒕𝒊𝒐𝒏𝒔 𝒘𝒆𝒓𝒆 𝒄𝒓𝒖𝒄𝒊𝒂𝒍 𝒊𝒏 𝒆𝒙𝒑𝒓𝒆𝒔𝒔𝒊𝒏𝒈 𝒕𝒐 𝒕𝒉𝒆 𝒑𝒖𝒃𝒍𝒊𝒄 𝒕𝒉𝒆 𝒅𝒆𝒔𝒊𝒓𝒆 𝒕𝒐 𝒇𝒐𝒓𝒈𝒆 𝒂𝒏 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝒏𝒂𝒕𝒊𝒐𝒏 𝒊𝒏 𝒕𝒉𝒆 𝒏𝒂𝒎𝒆 𝒐𝒇 𝒇𝒓𝒆𝒆𝒅𝒐𝒎 𝒂𝒏𝒅 𝒊𝒏𝒅𝒆𝒑𝒆𝒏𝒅𝒆𝒏𝒄𝒆. 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝒏𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝒔𝒆𝒏𝒕𝒊𝒎𝒆𝒏𝒕 𝒘𝒂𝒔 𝒓𝒆𝒗𝒊𝒕𝒂𝒍𝒊𝒛𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒆𝒗𝒆𝒏𝒕𝒔 𝒐𝒇 𝟏𝟖𝟒𝟖, 𝒍𝒆𝒂𝒅𝒊𝒏𝒈 𝒕𝒐 𝒕𝒉𝒆 𝑭𝒊𝒓𝒔𝒕 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝑾𝒂𝒓 𝒐𝒇 𝑰𝒏𝒅𝒆𝒑𝒆𝒏𝒅𝒆𝒏𝒄𝒆, 𝒘𝒉𝒊𝒄𝒉, 𝒉𝒐𝒘𝒆𝒗𝒆𝒓, 𝒅𝒊𝒅 𝒏𝒐𝒕 𝒔𝒖𝒄𝒄𝒆𝒆𝒅. 𝑻𝒉𝒆 𝒅𝒆𝒇𝒊𝒏𝒊𝒕𝒊𝒗𝒆 𝒖𝒏𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏 𝒑𝒓𝒐𝒄𝒆𝒔𝒔 𝒃𝒆𝒈𝒂𝒏 𝒊𝒏 𝟏𝟖𝟓𝟗 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒔𝒆𝒄𝒓𝒆𝒕 𝒂𝒈𝒓𝒆𝒆𝒎𝒆𝒏𝒕𝒔 𝒐𝒇 𝑷𝒍𝒐𝒎𝒃𝒊è𝒓𝒆𝒔 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝑵𝒂𝒑𝒐𝒍𝒆𝒐𝒏 𝑰𝑰𝑰 𝒂𝒏𝒅 𝑪𝒂𝒎𝒊𝒍𝒍𝒐 𝑩𝒆𝒏𝒔𝒐, 𝑪𝒐𝒖𝒏𝒕 𝒐𝒇 𝑪𝒂𝒗𝒐𝒖𝒓, 𝒆𝒔𝒕𝒂𝒃𝒍𝒊𝒔𝒉𝒊𝒏𝒈 𝒂𝒏 𝒂𝒏𝒕𝒊-𝑨𝒖𝒔𝒕𝒓𝒊𝒂𝒏 𝒂𝒍𝒍𝒊𝒂𝒏𝒄𝒆. 𝑻𝒉𝒊𝒔 𝒆𝒗𝒆𝒏𝒕𝒖𝒂𝒍𝒍𝒚 𝒍𝒆𝒅 𝒕𝒐 𝒕𝒉𝒆 𝑺𝒆𝒄𝒐𝒏𝒅 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝑾𝒂𝒓 𝒐𝒇 𝑰𝒏𝒅𝒆𝒑𝒆𝒏𝒅𝒆𝒏𝒄𝒆 𝒂𝒏𝒅 𝒕𝒉𝒆 𝑬𝒙𝒑𝒆𝒅𝒊𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝑻𝒉𝒐𝒖𝒔𝒂𝒏𝒅. 𝑻𝒉𝒆 𝑲𝒊𝒏𝒈𝒅𝒐𝒎 𝒐𝒇 𝑰𝒕𝒂𝒍𝒚 𝒘𝒂𝒔 𝒑𝒓𝒐𝒄𝒍𝒂𝒊𝒎𝒆𝒅 𝒂 𝒇𝒆𝒘 𝒚𝒆𝒂𝒓𝒔 𝒍𝒂𝒕𝒆𝒓 𝒊𝒏 𝟏𝟖𝟔𝟏. 𝑰𝒕 𝒘𝒂𝒔 𝒘𝒊𝒕𝒉𝒊𝒏 𝒕𝒉𝒊𝒔 𝒉𝒊𝒔𝒕𝒐𝒓𝒊𝒄𝒂𝒍 𝒄𝒐𝒏𝒕𝒆𝒙𝒕 𝒕𝒉𝒂𝒕 𝑭𝒓𝒂𝒏𝒄𝒆𝒔𝒄𝒐 𝑯𝒂𝒚𝒆𝒛 𝒑𝒂𝒊𝒏𝒕𝒆𝒅 𝒉𝒊𝒔 "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔." 𝑴𝒊𝒏𝒅𝒇𝒖𝒍 𝒐𝒇 𝒕𝒉𝒆 𝒍𝒆𝒔𝒔𝒐𝒏𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒖𝒑𝒑𝒓𝒆𝒔𝒔𝒆𝒅 𝑪𝒂𝒓𝒃𝒐𝒏𝒆𝒓𝒊𝒂, 𝒕𝒉𝒆 𝒂𝒓𝒕𝒊𝒔𝒕 𝒅𝒆𝒄𝒊𝒅𝒆𝒅 𝒕𝒐 𝒎𝒂𝒔𝒌 𝒕𝒉𝒆 𝒊𝒅𝒆𝒂𝒍𝒔 𝒐𝒇 𝒄𝒐𝒏𝒔𝒑𝒊𝒓𝒂𝒄𝒚 𝒂𝒏𝒅 𝒓𝒆𝒔𝒊𝒔𝒕𝒂𝒏𝒄𝒆 𝒕𝒐 𝒇𝒐𝒓𝒆𝒊𝒈𝒏𝒆𝒓𝒔 𝒖𝒏𝒅𝒆𝒓 𝒕𝒉𝒆 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒑𝒂𝒔𝒕 𝒆𝒗𝒆𝒏𝒕𝒔. 𝑻𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒉𝒆 𝒂𝒅𝒐𝒑𝒕𝒊𝒐𝒏 𝒐𝒇 𝒂𝒎𝒃𝒊𝒈𝒖𝒐𝒖𝒔 𝒂𝒏𝒅 𝒐𝒑𝒂𝒒𝒖𝒆 𝒄𝒐𝒎𝒎𝒖𝒏𝒊𝒄𝒂𝒕𝒊𝒐𝒏 𝒔𝒄𝒉𝒆𝒎𝒆𝒔, 𝑯𝒂𝒚𝒆𝒛 𝒆𝒇𝒇𝒆𝒄𝒕𝒊𝒗𝒆𝒍𝒚 𝒆𝒗𝒂𝒅𝒆𝒅 𝒄𝒆𝒏𝒔𝒐𝒓𝒔𝒉𝒊𝒑 𝒃𝒚 𝒕𝒉𝒆 𝒂𝒖𝒕𝒉𝒐𝒓𝒊𝒕𝒊𝒆𝒔. 𝑯𝒊𝒔𝒕𝒐𝒓𝒚 𝒐𝒇 𝒕𝒉𝒆 𝑷𝒂𝒊𝒏𝒕𝒊𝒏𝒈: "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔" 𝒘𝒂𝒔 𝒑𝒓𝒊𝒗𝒂𝒕𝒆𝒍𝒚 𝒄𝒐𝒎𝒎𝒊𝒔𝒔𝒊𝒐𝒏𝒆𝒅 𝒃𝒚 𝑪𝒐𝒖𝒏𝒕 𝑨𝒍𝒇𝒐𝒏𝒔𝒐 𝑴𝒂𝒓𝒊𝒂 𝑽𝒊𝒔𝒄𝒐𝒏𝒕𝒊 𝒅𝒊 𝑺𝒂𝒍𝒊𝒄𝒆𝒕𝒐. 𝑯𝒂𝒚𝒆𝒛, 𝒂𝒍𝒓𝒆𝒂𝒅𝒚 𝒘𝒆𝒍𝒍-𝒌𝒏𝒐𝒘𝒏 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒂𝒕𝒓𝒊𝒐𝒕𝒊𝒄 𝒄𝒊𝒓𝒄𝒍𝒆𝒔 𝒐𝒇 𝑴𝒊𝒍𝒂𝒏, 𝒘𝒂𝒔 𝒓𝒆𝒈𝒂𝒓𝒅𝒆𝒅 𝒃𝒚 𝑮𝒊𝒖𝒔𝒆𝒑𝒑𝒆 𝑴𝒂𝒛𝒛𝒊𝒏𝒊 𝒂𝒔 𝒕𝒉𝒆 "𝒉𝒆𝒂𝒅 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒄𝒉𝒐𝒐𝒍 𝒐𝒇 𝒉𝒊𝒔𝒕𝒐𝒓𝒊𝒄𝒂𝒍 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒅𝒆𝒎𝒂𝒏𝒅𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝑵𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝒕𝒉𝒐𝒖𝒈𝒉𝒕 𝒊𝒏 𝑰𝒕𝒂𝒍𝒚." 𝑻𝒉𝒆𝒓𝒆𝒇𝒐𝒓𝒆, 𝒊𝒕 𝒊𝒔 𝒏𝒐𝒕 𝒔𝒖𝒓𝒑𝒓𝒊𝒔𝒊𝒏𝒈 𝒕𝒉𝒂𝒕 𝑽𝒊𝒔𝒄𝒐𝒏𝒕𝒊 𝒆𝒏𝒕𝒓𝒖𝒔𝒕𝒆𝒅 𝒉𝒊𝒎 𝒘𝒊𝒕𝒉 𝒕𝒓𝒂𝒏𝒔𝒍𝒂𝒕𝒊𝒏𝒈 𝒊𝒏𝒕𝒐 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒉𝒐𝒑𝒆𝒔 𝒂𝒔𝒔𝒐𝒄𝒊𝒂𝒕𝒆𝒅 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒂𝒍𝒍𝒊𝒂𝒏𝒄𝒆 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝑭𝒓𝒂𝒏𝒄𝒆 𝒂𝒏𝒅 𝒕𝒉𝒆 𝑲𝒊𝒏𝒈𝒅𝒐𝒎 𝒐𝒇 𝑺𝒂𝒓𝒅𝒊𝒏𝒊𝒂. 𝑪𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒅 𝒊𝒏 𝟏𝟖𝟓𝟗 𝒂𝒏𝒅 𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒆𝒅 𝒂𝒕 𝑩𝒓𝒆𝒓𝒂 𝒐𝒏 𝑺𝒆𝒑𝒕𝒆𝒎𝒃𝒆𝒓 𝟗 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒂𝒎𝒆 𝒚𝒆𝒂𝒓 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒕𝒊𝒕𝒍𝒆 "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔 - 𝑬𝒑𝒊𝒔𝒐𝒅𝒆 𝒐𝒇 𝒀𝒐𝒖𝒕𝒉. 𝑪𝒖𝒔𝒕𝒐𝒎𝒔 𝒐𝒇 𝒕𝒉𝒆 𝟏𝟒𝒕𝒉 𝑪𝒆𝒏𝒕𝒖𝒓𝒚," 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒂𝒅𝒐𝒓𝒏𝒆𝒅 𝑽𝒊𝒔𝒄𝒐𝒏𝒕𝒊'𝒔 𝒍𝒖𝒙𝒖𝒓𝒊𝒐𝒖𝒔 𝒓𝒆𝒔𝒊𝒅𝒆𝒏𝒄𝒆 𝒇𝒐𝒓 𝒐𝒗𝒆𝒓 𝒕𝒘𝒆𝒏𝒕𝒚-𝒇𝒊𝒗𝒆 𝒚𝒆𝒂𝒓𝒔. 𝑶𝒏𝒍𝒚 𝒊𝒏 𝟏𝟖𝟖𝟔, 𝒂 𝒚𝒆𝒂𝒓 𝒃𝒆𝒇𝒐𝒓𝒆 𝒉𝒊𝒔 𝒅𝒆𝒂𝒕𝒉, 𝒅𝒊𝒅 𝒕𝒉𝒆 𝒄𝒐𝒖𝒏𝒕 𝒅𝒆𝒔𝒊𝒈𝒏𝒂𝒕𝒆 𝒕𝒉𝒆 𝒂𝒓𝒕𝒘𝒐𝒓𝒌 𝒇𝒐𝒓 𝒕𝒉𝒆 𝑷𝒊𝒏𝒂𝒄𝒐𝒕𝒆𝒄𝒂 𝒅𝒊 𝑩𝒓𝒆𝒓𝒂, 𝒘𝒉𝒆𝒓𝒆 𝒊𝒕 𝒊𝒔 𝒔𝒕𝒊𝒍𝒍 𝒆𝒙𝒉𝒊𝒃𝒊𝒕𝒆𝒅 𝒊𝒏 𝑹𝒐𝒐𝒎 𝑿𝑿𝑿𝑽𝑰𝑰. 𝑾𝒉𝒊𝒍𝒆 𝒕𝒉𝒆 𝒗𝒆𝒓𝒔𝒊𝒐𝒏 𝒂𝒕 𝑩𝒓𝒆𝒓𝒂 𝒊𝒔 𝒖𝒏𝒅𝒐𝒖𝒃𝒕𝒆𝒅𝒍𝒚 𝒕𝒉𝒆 𝒎𝒐𝒔𝒕 𝒇𝒂𝒎𝒐𝒖𝒔, 𝑯𝒂𝒚𝒆𝒛 𝒄𝒓𝒆𝒂𝒕𝒆𝒅 𝒕𝒉𝒓𝒆𝒆 𝒗𝒆𝒓𝒔𝒊𝒐𝒏𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈. 𝑻𝒉𝒆 𝒔𝒆𝒄𝒐𝒏𝒅 𝒗𝒆𝒓𝒔𝒊𝒐𝒏 𝒊𝒔 𝒕𝒉𝒆 𝒐𝒏𝒍𝒚 𝒐𝒏𝒆 𝒕𝒓𝒂𝒏𝒔𝒑𝒐𝒔𝒆𝒅 𝒐𝒏𝒕𝒐 𝒂 𝒘𝒂𝒕𝒆𝒓𝒄𝒐𝒍𝒐𝒓 𝒐𝒏 𝒑𝒂𝒑𝒆𝒓, 𝒐𝒗𝒂𝒍 𝒊𝒏 𝒇𝒐𝒓𝒎𝒂𝒕. 𝑪𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒅 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝟏𝟖𝟓𝟗 𝒂𝒏𝒅 𝟏𝟖𝟔𝟎, 𝒊𝒕 𝒘𝒂𝒔 𝒍𝒂𝒕𝒆𝒓 𝒈𝒊𝒗𝒆𝒏 𝒃𝒚 𝑯𝒂𝒚𝒆𝒛 𝒕𝒐 𝒉𝒊𝒔 𝒇𝒓𝒊𝒆𝒏𝒅 𝑮𝒊𝒖𝒔𝒆𝒑𝒑𝒊𝒏𝒂 𝑵𝒆𝒈𝒓𝒐𝒏𝒊 𝑷𝒓𝒂𝒕𝒊 𝑴𝒐𝒓𝒐𝒔𝒊𝒏𝒊 𝒂𝒏𝒅 𝒊𝒔 𝒏𝒐𝒘 𝒅𝒊𝒔𝒑𝒍𝒂𝒚𝒆𝒅 𝒂𝒕 𝒕𝒉𝒆 𝑷𝒊𝒏𝒂𝒄𝒐𝒕𝒆𝒄𝒂 𝑨𝒎𝒃𝒓𝒐𝒔𝒊𝒂𝒏𝒂 𝒊𝒏 𝑴𝒊𝒍𝒂𝒏. 𝑰𝒕 𝒅𝒊𝒇𝒇𝒆𝒓𝒔 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒐𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝒘𝒊𝒕𝒉 𝒂 𝒘𝒉𝒊𝒕𝒆 𝒅𝒓𝒂𝒑𝒆 𝒐𝒏 𝒕𝒉𝒆 𝒔𝒕𝒆𝒑𝒔 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒗𝒊𝒃𝒓𝒂𝒏𝒕 𝒈𝒓𝒆𝒆𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒎𝒂𝒏'𝒔 𝒄𝒍𝒐𝒂𝒌. 𝑻𝒉𝒆 𝒕𝒉𝒊𝒓𝒅 𝒗𝒆𝒓𝒔𝒊𝒐𝒏, 𝒄𝒓𝒆𝒂𝒕𝒆𝒅 𝒊𝒏 𝟏𝟖𝟔𝟏 𝒇𝒐𝒓 𝒕𝒉𝒆 𝑴𝒚𝒍𝒊𝒖𝒔 𝒇𝒂𝒎𝒊𝒍𝒚, 𝒇𝒆𝒂𝒕𝒖𝒓𝒆𝒔 𝒕𝒉𝒆 𝒎𝒂𝒊𝒅𝒆𝒏 𝒘𝒆𝒂𝒓𝒊𝒏𝒈 𝒂 𝒘𝒉𝒊𝒕𝒆 𝒅𝒓𝒆𝒔𝒔. 𝑰𝒕 𝒘𝒂𝒔 𝒆𝒙𝒉𝒊𝒃𝒊𝒕𝒆𝒅 𝒂𝒕 𝒕𝒉𝒆 𝟏𝟖𝟔𝟕 𝑼𝒏𝒊𝒗𝒆𝒓𝒔𝒂𝒍 𝑬𝒙𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏 𝒊𝒏 𝑷𝒂𝒓𝒊𝒔 𝒂𝒏𝒅 𝒘𝒂𝒔 𝒂𝒖𝒄𝒕𝒊𝒐𝒏𝒆𝒅 𝒃𝒚 𝑺𝒐𝒕𝒉𝒆𝒃𝒚'𝒔 𝒊𝒏 𝟐𝟎𝟎𝟖 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒔𝒖𝒎 𝒐𝒇 £𝟕𝟖𝟎,𝟒𝟓𝟎. 𝑫𝒆𝒔𝒄𝒓𝒊𝒑𝒕𝒊𝒐𝒏: 𝑻𝒉𝒆 𝒔𝒄𝒆𝒏𝒆 𝒊𝒔 𝒔𝒆𝒕 𝒊𝒏 𝒂 𝒗𝒂𝒈𝒖𝒆 𝒎𝒆𝒅𝒊𝒆𝒗𝒂𝒍 𝒊𝒏𝒕𝒆𝒓𝒊𝒐𝒓, 𝒕𝒉𝒆 𝒆𝒏𝒕𝒓𝒂𝒏𝒄𝒆 𝒉𝒂𝒍𝒍 𝒐𝒇 𝒂 𝒄𝒂𝒔𝒕𝒍𝒆, 𝒉𝒊𝒈𝒉𝒍𝒊𝒈𝒉𝒕𝒆𝒅 𝒃𝒚 𝒕𝒉𝒓𝒆𝒆 𝒔𝒕𝒆𝒑𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒓𝒊𝒈𝒉𝒕 𝒔𝒊𝒅𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒂𝒏𝒗𝒂𝒔 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒆𝒙𝒕𝒆𝒏𝒔𝒊𝒗𝒆 𝒔𝒕𝒐𝒏𝒆 𝒘𝒂𝒍𝒍 𝒐𝒄𝒄𝒖𝒑𝒚𝒊𝒏𝒈 𝒂𝒍𝒎𝒐𝒔𝒕 𝒕𝒉𝒆 𝒆𝒏𝒕𝒊𝒓𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅. 𝑻𝒉𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅 𝒊𝒔 𝒊𝒏𝒕𝒆𝒓𝒓𝒖𝒑𝒕𝒆𝒅 𝒐𝒏𝒍𝒚 𝒃𝒚 𝒂 𝑮𝒐𝒕𝒉𝒊𝒄 𝒂𝒓𝒄𝒉𝒘𝒂𝒚, 𝒊𝒏𝒕𝒓𝒐𝒅𝒖𝒄𝒆𝒅 𝒃𝒚 𝒂 𝒕𝒉𝒊𝒏 𝒄𝒐𝒍𝒖𝒎𝒏, 𝒂𝒏𝒅 𝒂 𝒎𝒖𝒍𝒍𝒊𝒐𝒏𝒆𝒅 𝒘𝒊𝒏𝒅𝒐𝒘 𝒐𝒖𝒕𝒍𝒊𝒏𝒆𝒅 𝒂𝒕 𝒕𝒉𝒆 𝒕𝒐𝒑 𝒓𝒊𝒈𝒉𝒕, 𝒋𝒖𝒔𝒕 𝒉𝒊𝒏𝒕𝒆𝒅 𝒂𝒕 𝒅𝒖𝒆 𝒕𝒐 𝒕𝒉𝒆 𝒖𝒑𝒑𝒆𝒓 𝒎𝒂𝒓𝒈𝒊𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒇𝒓𝒂𝒎𝒆. 𝑰𝒏 𝒕𝒉𝒊𝒔 𝒎𝒆𝒅𝒊𝒆𝒗𝒂𝒍-𝒊𝒏𝒔𝒑𝒊𝒓𝒆𝒅 𝒔𝒆𝒕𝒕𝒊𝒏𝒈, 𝒂 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒂𝒕𝒆 𝒂𝒏𝒅 𝒔𝒆𝒏𝒔𝒖𝒂𝒍 𝒌𝒊𝒔𝒔 𝒖𝒏𝒇𝒐𝒍𝒅𝒔 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒕𝒘𝒐 𝒚𝒐𝒖𝒏𝒈 𝒍𝒐𝒗𝒆𝒓𝒔 𝒊𝒏 𝒂 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒔𝒖𝒔𝒑𝒆𝒏𝒔𝒊𝒐𝒏. 𝑻𝒉𝒆 𝒎𝒂𝒏 𝒑𝒍𝒂𝒚𝒔 𝒂𝒏 𝒂𝒄𝒕𝒊𝒗𝒆 𝒓𝒐𝒍𝒆 𝒊𝒏 𝒕𝒉𝒆 𝒌𝒊𝒔𝒔, 𝒇𝒊𝒓𝒎𝒍𝒚 𝒉𝒐𝒍𝒅𝒊𝒏𝒈 𝒕𝒉𝒆 𝒉𝒆𝒂𝒅 𝒂𝒏𝒅 𝒇𝒂𝒄𝒆 𝒐𝒇 𝒉𝒊𝒔 𝒃𝒆𝒍𝒐𝒗𝒆𝒅. 𝑰𝒏 𝒄𝒐𝒏𝒕𝒓𝒂𝒔𝒕, 𝒕𝒉𝒆 𝒘𝒐𝒎𝒂𝒏 𝒍𝒂𝒏𝒈𝒖𝒊𝒅𝒍𝒚 𝒔𝒖𝒓𝒓𝒆𝒏𝒅𝒆𝒓𝒔 𝒕𝒐 𝒕𝒉𝒆 𝒆𝒎𝒃𝒓𝒂𝒄𝒆, 𝒎𝒆𝒓𝒆𝒍𝒚 𝒔𝒒𝒖𝒆𝒆𝒛𝒊𝒏𝒈 𝒕𝒉𝒆 𝒎𝒂𝒏'𝒔 𝒔𝒉𝒐𝒖𝒍𝒅𝒆𝒓𝒔 𝒘𝒊𝒕𝒉 𝒉𝒆𝒓 𝒍𝒆𝒇𝒕 𝒂𝒓𝒎. 𝑬𝒏𝒗𝒆𝒍𝒐𝒑𝒆𝒅 𝒊𝒏 𝒂𝒏 𝒆𝒄𝒔𝒕𝒂𝒔𝒚 𝒐𝒇 𝒍𝒐𝒗𝒆, 𝒕𝒉𝒆 𝒕𝒘𝒐 𝒃𝒐𝒅𝒊𝒆𝒔 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒂𝒕𝒆𝒍𝒚 𝒊𝒏𝒕𝒆𝒓𝒕𝒘𝒊𝒏𝒆, 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒎𝒂𝒏'𝒔 𝒕𝒐𝒓𝒔𝒐 𝒃𝒆𝒏𝒅𝒊𝒏𝒈 𝒕𝒐 𝒎𝒂𝒕𝒄𝒉 𝒕𝒉𝒆 𝒔𝒖𝒑𝒑𝒍𝒆 𝒇𝒐𝒓𝒎 𝒐𝒇 𝒉𝒊𝒔 𝒄𝒐𝒎𝒑𝒂𝒏𝒊𝒐𝒏, 𝒂𝒓𝒄𝒉𝒆𝒅 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒂𝒄𝒆 𝒐𝒇 𝒔𝒖𝒄𝒉 𝒐𝒗𝒆𝒓𝒘𝒉𝒆𝒍𝒎𝒊𝒏𝒈 𝒑𝒂𝒔𝒔𝒊𝒐𝒏. 𝑻𝒉𝒆 𝒌𝒊𝒔𝒔 𝒊𝒔 𝒗𝒆𝒓𝒚 𝒔𝒆𝒏𝒔𝒖𝒂𝒍 𝒃𝒖𝒕 𝒏𝒐𝒕 𝒆𝒏𝒕𝒊𝒓𝒆𝒍𝒚 𝒕𝒓𝒂𝒏𝒒𝒖𝒊𝒍. 𝑻𝒉𝒆 𝒎𝒂𝒏 𝒑𝒍𝒂𝒄𝒆𝒔 𝒉𝒊𝒔 𝒍𝒆𝒇𝒕 𝒍𝒆𝒈 𝒐𝒏 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒔𝒕𝒆𝒑 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒕𝒂𝒊𝒓𝒄𝒂𝒔𝒆, 𝒓𝒆𝒗𝒆𝒂𝒍𝒊𝒏𝒈 𝒕𝒉𝒆 𝒉𝒊𝒍𝒕 𝒐𝒇 𝒂 𝒅𝒂𝒈𝒈𝒆𝒓 𝒇𝒓𝒐𝒎 𝒃𝒆𝒏𝒆𝒂𝒕𝒉 𝒉𝒊𝒔 𝒄𝒍𝒐𝒂𝒌. 𝑻𝒉𝒊𝒔 𝒑𝒉𝒚𝒔𝒊𝒄𝒂𝒍 𝒊𝒏𝒔𝒕𝒂𝒃𝒊𝒍𝒊𝒕𝒚 𝒄𝒐𝒏𝒗𝒆𝒚𝒔 𝒂 𝒄𝒆𝒓𝒕𝒂𝒊𝒏 𝒏𝒆𝒓𝒗𝒐𝒖𝒔𝒏𝒆𝒔𝒔, 𝒂𝒔 𝒊𝒇 𝒕𝒉𝒆 𝒌𝒊𝒔𝒔 𝒘𝒆𝒓𝒆 𝒅𝒓𝒊𝒗𝒆𝒏 𝒏𝒐𝒕 𝒎𝒆𝒓𝒆𝒍𝒚 𝒃𝒚 𝒔𝒆𝒏𝒕𝒊𝒎𝒆𝒏𝒕𝒂𝒍 𝒍𝒐𝒏𝒈𝒊𝒏𝒈 𝒃𝒖𝒕 𝒃𝒚 𝒂𝒏 𝒊𝒎𝒎𝒊𝒏𝒆𝒏𝒕 𝒅𝒆𝒑𝒂𝒓𝒕𝒖𝒓𝒆, 𝒕𝒓𝒂𝒏𝒔𝒇𝒐𝒓𝒎𝒊𝒏𝒈 𝒕𝒉𝒊𝒔 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒈𝒆𝒔𝒕𝒖𝒓𝒆 𝒊𝒏𝒕𝒐 𝒂 𝒉𝒆𝒂𝒓𝒕𝒃𝒓𝒆𝒂𝒌𝒊𝒏𝒈 𝒇𝒂𝒓𝒆𝒘𝒆𝒍𝒍. 𝑻𝒉𝒆 𝒎𝒆𝒍𝒐𝒅𝒓𝒂𝒎𝒂𝒕𝒊𝒄 𝒕𝒐𝒏𝒆𝒔 𝒂𝒓𝒆 𝒉𝒆𝒊𝒈𝒉𝒕𝒆𝒏𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒑𝒓𝒆𝒔𝒆𝒏𝒄𝒆 𝒐𝒇 𝒂 𝒔𝒉𝒂𝒅𝒐𝒘𝒚 𝒇𝒊𝒈𝒖𝒓𝒆 𝒊𝒏 𝒕𝒉𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅, 𝒃𝒆𝒉𝒊𝒏𝒅 𝒕𝒉𝒆 𝑮𝒐𝒕𝒉𝒊𝒄 𝒂𝒓𝒄𝒉𝒘𝒂𝒚. 𝑰𝒏𝒕𝒆𝒓𝒑𝒓𝒆𝒕𝒂𝒕𝒊𝒐𝒏𝒔 𝒗𝒂𝒓𝒚, 𝒔𝒖𝒈𝒈𝒆𝒔𝒕𝒊𝒏𝒈 𝒊𝒕 𝒄𝒐𝒖𝒍𝒅 𝒃𝒆 𝒂 𝒎𝒂𝒏 𝒅𝒊𝒔𝒄𝒓𝒆𝒆𝒕𝒍𝒚 𝒔𝒑𝒚𝒊𝒏𝒈 𝒐𝒏 𝒕𝒉𝒆 𝒔𝒄𝒆𝒏𝒆 𝒐𝒓 𝒂 𝒄𝒐𝒏𝒔𝒑𝒊𝒓𝒂𝒕𝒐𝒓 𝒂𝒘𝒂𝒊𝒕𝒊𝒏𝒈 𝒉𝒊𝒔 𝒄𝒐𝒎𝒓𝒂𝒅𝒆'𝒔 𝒇𝒂𝒓𝒆𝒘𝒆𝒍𝒍 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒃𝒆𝒍𝒐𝒗𝒆𝒅 𝒃𝒆𝒇𝒐𝒓𝒆 𝒊𝒏𝒊𝒕𝒊𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒆𝒊𝒓 𝒂𝒄𝒕𝒊𝒐𝒏. 𝑯𝒐𝒘𝒆𝒗𝒆𝒓, 𝒊𝒕 𝒊𝒔 𝒎𝒐𝒓𝒆 𝒍𝒊𝒌𝒆𝒍𝒚 𝒂 𝒔𝒊𝒎𝒑𝒍𝒆 𝒎𝒂𝒊𝒅. 𝑨𝒔 𝒅𝒆𝒔𝒄𝒓𝒊𝒃𝒆𝒅 𝒃𝒚 𝑮𝒊𝒖𝒔𝒆𝒑𝒑𝒆 𝑵𝒊𝒇𝒐𝒔ì: "𝑰𝒏 𝒕𝒉𝒊𝒔 𝒆𝒎𝒃𝒓𝒂𝒄𝒆 𝒂𝒏𝒅 𝒕𝒉𝒊𝒔 𝒌𝒊𝒔𝒔, 𝒕𝒉𝒆 𝒐𝒃𝒔𝒆𝒓𝒗𝒆𝒓 𝒇𝒐𝒓𝒆𝒔𝒆𝒆𝒔 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏 𝒐𝒇 𝒂𝒏 𝒊𝒎𝒎𝒊𝒏𝒆𝒏𝒕 𝒂𝒏𝒅 𝒊𝒏𝒆𝒗𝒊𝒕𝒂𝒃𝒍𝒆 𝒅𝒆𝒑𝒂𝒓𝒕𝒖𝒓𝒆: 𝒂𝒇𝒕𝒆𝒓 𝒕𝒉𝒆 𝒑𝒐𝒊𝒈𝒏𝒂𝒏𝒕 𝒇𝒂𝒓𝒆𝒘𝒆𝒍𝒍, 𝒕𝒉𝒆 𝒈𝒊𝒓𝒍 𝒘𝒊𝒍𝒍 𝒃𝒆 𝒍𝒆𝒇𝒕 𝒂𝒍𝒐𝒏𝒆, 𝒍𝒂𝒅𝒆𝒏 𝒘𝒊𝒕𝒉 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂, 𝒓𝒐𝒄𝒌𝒊𝒏𝒈 𝒊𝒏 𝒉𝒆𝒓 𝒎𝒆𝒍𝒂𝒏𝒄𝒉𝒐𝒍𝒊𝒄 𝒂𝒏𝒕𝒊𝒄𝒊𝒑𝒂𝒕𝒊𝒐𝒏, 𝒄𝒓𝒖𝒔𝒉𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒇𝒆𝒂𝒓 𝒐𝒇 𝒏𝒆𝒗𝒆𝒓 𝒔𝒆𝒆𝒊𝒏𝒈 𝒉𝒆𝒓 𝒃𝒆𝒍𝒐𝒗𝒆𝒅 𝒂𝒈𝒂𝒊𝒏." 𝑽𝒊𝒔𝒖𝒂𝒍 𝑳𝒂𝒏𝒈𝒖𝒂𝒈𝒆: 𝑻𝒉𝒆 𝒈𝒆𝒐𝒎𝒆𝒕𝒓𝒊𝒄 𝒂𝒏𝒅 𝒑𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 𝒔𝒄𝒉𝒆𝒎𝒆 𝒐𝒇 "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔" 𝒊𝒔 𝒔𝒆𝒕 𝒐𝒏 𝒂 𝒔𝒆𝒓𝒊𝒆𝒔 𝒐𝒇 𝒅𝒊𝒂𝒈𝒐𝒏𝒂𝒍𝒔 𝒕𝒉𝒂𝒕, 𝒇𝒐𝒍𝒍𝒐𝒘𝒊𝒏𝒈 𝒕𝒉𝒆 𝒔𝒕𝒆𝒑𝒔, 𝒕𝒆𝒏𝒅 𝒕𝒐 𝒄𝒐𝒏𝒗𝒆𝒓𝒈𝒆 𝒂𝒕 𝒕𝒉𝒆 𝒗𝒂𝒏𝒊𝒔𝒉𝒊𝒏𝒈 𝒑𝒐𝒊𝒏𝒕 𝒊𝒎𝒎𝒆𝒅𝒊𝒂𝒕𝒆𝒍𝒚 𝒕𝒐 𝒕𝒉𝒆 𝒍𝒆𝒇𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒘𝒐 𝒍𝒐𝒗𝒆𝒓𝒔. 𝑻𝒉𝒆𝒔𝒆 𝒍𝒊𝒏𝒆𝒔 𝒇𝒐𝒓𝒎 𝒕𝒉𝒆 𝒇𝒓𝒂𝒎𝒆𝒘𝒐𝒓𝒌 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈, 𝒄𝒐𝒏𝒄𝒆𝒏𝒕𝒓𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒐𝒃𝒔𝒆𝒓𝒗𝒆𝒓'𝒔 𝒂𝒕𝒕𝒆𝒏𝒕𝒊𝒐𝒏 𝒐𝒏 𝒕𝒉𝒆 𝒄𝒐𝒖𝒑𝒍𝒆, 𝒄𝒍𝒆𝒂𝒓𝒍𝒚 𝒅𝒊𝒔𝒕𝒊𝒏𝒈𝒖𝒊𝒔𝒉𝒆𝒅 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅 𝒃𝒚 𝒘𝒆𝒍𝒍-𝒅𝒆𝒇𝒊𝒏𝒆𝒅 𝒄𝒐𝒏𝒕𝒐𝒖𝒓𝒔. 𝑻𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈'𝒔 𝒄𝒉𝒓𝒐𝒎𝒂𝒕𝒊𝒄 𝒉𝒂𝒓𝒎𝒐𝒏𝒚, 𝒂𝒏 𝒊𝒏𝒉𝒆𝒓𝒊𝒕𝒂𝒏𝒄𝒆 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑽𝒆𝒏𝒆𝒕𝒊𝒂𝒏 𝑹𝒆𝒏𝒂𝒊𝒔𝒔𝒂𝒏𝒄𝒆 𝒔𝒄𝒉𝒐𝒐𝒍𝒔 𝒐𝒇 𝑮𝒊𝒐𝒓𝒈𝒊𝒐𝒏𝒆 𝒂𝒏𝒅 𝑻𝒊𝒕𝒊𝒂𝒏, 𝒊𝒔 𝒏𝒐𝒕𝒆𝒘𝒐𝒓𝒕𝒉𝒚. 𝑻𝒉𝒆 𝒄𝒉𝒓𝒐𝒎𝒂𝒕𝒊𝒄 𝒗𝒊𝒓𝒕𝒖𝒐𝒔𝒊𝒕𝒚 𝒐𝒇 "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔" 𝒊𝒔 𝒆𝒙𝒑𝒓𝒆𝒔𝒔𝒆𝒅 𝒊𝒏 𝒕𝒉𝒆 𝒃𝒓𝒐𝒘𝒏 𝒄𝒍𝒐𝒂𝒌 𝒂𝒏𝒅 𝒓𝒆𝒅 𝒕𝒊𝒈𝒉𝒕𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒃𝒐𝒚, 𝒉𝒂𝒓𝒎𝒐𝒏𝒊𝒐𝒖𝒔𝒍𝒚 𝒃𝒍𝒆𝒏𝒅𝒊𝒏𝒈 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒃𝒍𝒖𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒈𝒊𝒓𝒍'𝒔 𝒅𝒓𝒆𝒔𝒔. 𝑻𝒉𝒆 𝒏𝒆𝒖𝒕𝒓𝒂𝒍 𝒕𝒐𝒏𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅 𝒇𝒖𝒓𝒕𝒉𝒆𝒓 𝒆𝒏𝒉𝒂𝒏𝒄𝒆 𝒕𝒉𝒆 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒂𝒕𝒆 𝒆𝒎𝒃𝒓𝒂𝒄𝒆. 𝑳𝒊𝒈𝒉𝒕, 𝒆𝒎𝒂𝒏𝒂𝒕𝒊𝒏𝒈 𝒇𝒓𝒐𝒎 𝒂𝒏 𝒆𝒙𝒕𝒆𝒓𝒏𝒂𝒍 𝒔𝒐𝒖𝒓𝒄𝒆 𝒕𝒐 𝒕𝒉𝒆 𝒍𝒆𝒇𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈, 𝒖𝒏𝒊𝒇𝒐𝒓𝒎𝒍𝒚 𝒃𝒂𝒕𝒉𝒆𝒔 𝒕𝒉𝒆 𝒆𝒏𝒕𝒊𝒓𝒆 𝒔𝒄𝒆𝒏𝒆. 𝑰𝒕𝒔 𝒓𝒆𝒇𝒍𝒆𝒄𝒕𝒊𝒐𝒏𝒔 𝒆𝒎𝒃𝒆𝒍𝒍𝒊𝒔𝒉 𝒕𝒉𝒆 𝒈𝒊𝒓𝒍'𝒔 𝒔𝒊𝒍𝒌𝒚 𝒈𝒂𝒓𝒎𝒆𝒏𝒕, 𝒉𝒊𝒈𝒉𝒍𝒊𝒈𝒉𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒅𝒆𝒕𝒂𝒊𝒍𝒆𝒅 𝒘𝒐𝒓𝒌 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒂𝒗𝒆𝒎𝒆𝒏𝒕 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒃𝒍𝒐𝒄𝒌𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒂𝒍𝒍. 𝑨𝒍𝒍𝒆𝒈𝒐𝒓𝒊𝒄𝒂𝒍 𝑴𝒆𝒔𝒔𝒂𝒈𝒆: "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔" 𝒓𝒂𝒅𝒊𝒂𝒕𝒆𝒔 𝒎𝒖𝒍𝒕𝒊𝒑𝒍𝒆 𝒖𝒏𝒅𝒆𝒓𝒍𝒚𝒊𝒏𝒈 𝒎𝒆𝒂𝒏𝒊𝒏𝒈𝒔. 𝑰𝒏 𝒂𝒅𝒅𝒊𝒕𝒊𝒐𝒏 𝒕𝒐 𝒃𝒆𝒊𝒏𝒈 𝒂 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒚𝒐𝒖𝒕𝒉𝒇𝒖𝒍 𝒂𝒓𝒅𝒐𝒓, 𝒊𝒕 𝒎𝒂𝒔𝒕𝒆𝒓𝒇𝒖𝒍𝒍𝒚 𝒔𝒖𝒃𝒍𝒊𝒎𝒂𝒕𝒆𝒔 𝒊𝒅𝒆𝒂𝒍𝒔 𝒔𝒖𝒄𝒉 𝒂𝒔 𝒍𝒐𝒗𝒆 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒉𝒐𝒎𝒆𝒍𝒂𝒏𝒅 𝒂𝒏𝒅 𝒑𝒐𝒍𝒊𝒕𝒊𝒄𝒂𝒍-𝒎𝒊𝒍𝒊𝒕𝒂𝒓𝒚 𝒄𝒐𝒎𝒎𝒊𝒕𝒎𝒆𝒏𝒕, 𝒘𝒉𝒊𝒄𝒉, 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝑯𝒂𝒚𝒆𝒛'𝒔 𝒑𝒐𝒓𝒕𝒓𝒂𝒚𝒂𝒍, 𝒄𝒆𝒂𝒔𝒆 𝒕𝒐 𝒄𝒍𝒂𝒔𝒉 𝒅𝒊𝒄𝒉𝒐𝒕𝒐𝒎𝒐𝒖𝒔𝒍𝒚 𝒘𝒊𝒕𝒉 𝒑𝒓𝒊𝒗𝒂𝒕𝒆 𝒔𝒆𝒏𝒕𝒊𝒎𝒆𝒏𝒕, 𝒃𝒆𝒄𝒐𝒎𝒊𝒏𝒈 𝒆𝒒𝒖𝒊𝒗𝒂𝒍𝒆𝒏𝒕 𝒄𝒐𝒏𝒄𝒆𝒑𝒕𝒔 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒕𝒊𝒎𝒆. 𝑰𝒏 𝒕𝒉𝒊𝒔 𝒘𝒂𝒚, 𝒕𝒉𝒆 𝑯𝒂𝒚𝒆𝒛𝒊𝒂𝒏 𝒄𝒐𝒖𝒑𝒍𝒆 𝒊𝒔 𝒑𝒐𝒓𝒕𝒓𝒂𝒚𝒆𝒅 𝒂𝒔 𝒕𝒉𝒆 𝒑𝒆𝒓𝒔𝒐𝒏𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒂 𝒖𝒏𝒊𝒕𝒆𝒅 𝑰𝒕𝒂𝒍𝒚: "𝑯𝒆𝒓 𝒔𝒌𝒊𝒏 𝒊𝒔 𝒕𝒉𝒆 𝒔𝒌𝒊𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒆𝒏𝒕𝒊𝒓𝒆 𝑰𝒕𝒂𝒍𝒚. 𝑯𝒆𝒓 𝒃𝒐𝒅𝒚 𝒊𝒔 𝒕𝒉𝒆 𝒏𝒂𝒕𝒊𝒐𝒏. 𝑯𝒆𝒓 𝒎𝒐𝒖𝒕𝒉 𝒊𝒔 𝒕𝒉𝒆 𝒑𝒐𝒊𝒏𝒕 𝒐𝒇 𝑼𝒏𝒊𝒐𝒏. 𝑻𝒉𝒆𝒓𝒆 𝒊𝒔 𝒏𝒐 𝒔𝒆𝒑𝒂𝒓𝒂𝒕𝒊𝒐𝒏, 𝒏𝒐 𝒄𝒐𝒏𝒕𝒓𝒂𝒔𝒕 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒘𝒐𝒎𝒂𝒏 𝒂𝒏𝒅 𝒉𝒐𝒎𝒆𝒍𝒂𝒏𝒅." 𝑭𝒓𝒂𝒏𝒄𝒆𝒔𝒄𝒐 𝑯𝒂𝒚𝒆𝒛'𝒔 "𝑻𝒉𝒆 𝑲𝒊𝒔𝒔" 𝒔𝒕𝒂𝒏𝒅𝒔 𝒂𝒔 𝒂 𝒎𝒂𝒔𝒕𝒆𝒓𝒑𝒊𝒆𝒄𝒆 𝒐𝒇 𝑰𝒕𝒂𝒍𝒊𝒂𝒏 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒂𝒓𝒕, 𝒄𝒂𝒑𝒕𝒖𝒓𝒊𝒏𝒈 𝒕𝒉𝒆 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍 𝒅𝒆𝒑𝒕𝒉 𝒐𝒇 𝒍𝒐𝒗𝒆 𝒂𝒏𝒅 𝒆𝒎𝒃𝒐𝒅𝒚𝒊𝒏𝒈 𝒕𝒉𝒆 𝒑𝒂𝒕𝒓𝒊𝒐𝒕𝒊𝒄 𝒔𝒑𝒊𝒓𝒊𝒕 𝒐𝒇 𝒕𝒉𝒆 "𝑹𝒊𝒔𝒐𝒓𝒈𝒊𝒎𝒆𝒏𝒕𝒐" (𝑹𝒆𝒏𝒂𝒊𝒔𝒔𝒂𝒏𝒄𝒆).