Matters of Weight Force, Gravity, and Aesthetics in the Early Modern Period“Theory, Proportion, Tectonics —_—{ ‘Materialty and Devotion —— { Gravity, Collapse, and Risk ——_ Contents Proface and Acknowledgments Dane Young Km Winy Weight? The Hosviness of Art and Narrative Force Daves Yuna Kam Wioight and Resistance Bartolomeo Ammannati Lob des Lastors Frbon ont Carrying the Weight of Empire ‘anne Dunlop Pleteril Graves: Ojocthood, Authority, ‘nd Artisti Invention in Arecht Doers Veronioas Blder von Gewicht -Tintoretto und dle Gosetze der Schwerirat| Francesco Mach Balanclg Act andthe Prehistory ‘of Bamints our vers Fountain Estate Unga o 29 oa 129Francesco Mochi’s Balancing Act and the Prehistory of Bernini's Four Rivers Fountain Estelle Lingo In 1608 an unknown twenty-three-yar-old Tuscan sculptor named Francesco Mochi received » commission for fe-lze ‘marble sculpture of the Angel of the Annunciation from the Superntendant ofthe Cathedral of Oreo. He obtained the ‘commission because of nsetent pressure brought to bese By Maio Farnese, who belonged to th Latra branch of the pow- ‘erful ary and was levtonant general of papal oops: Maio promised to pay personaly to replace the statue if the super- Intendonts wore not sattig. Iwas Mechs frst major com ‘mission, and this fs the statue he produced fg). Not content with creating an updated Interpretation In marble of te four {eenth-century, standing woedon Angel that the sculpture wae Intended to replaco, Mech intend carved a gure which ngs "Rs closest paral in recent Ferentne painting ts pose i= ‘especialy clos tothe angel n Alessandro Alors Annan ‘of 1579. Tis similar is hel sina, for Aor was the ast In a reogo of artiste who sought to uphold a distinctively Fo- renting traction that they asoctoted in particular with he loge 1507 of Michelangelo. Mache sole seventeenit-century biog ‘hor, Glovann! Batista Passer, tamented that Mochi awaye wanted to show himself «rigorous initaor ofthe Florentine ‘manner wting in the third qurter ofthe seventoenth con- {ry Passel saw Moch’'s determination to cary forward the Florentine Wadtlon-at the moment that marked it effective fondo tho sculptors greatest Umitaton or Passer and Ni Foman contemporaries, the fundamental accomplishment of ‘tho art ofthe century hod been to unite the ering strensthe ofthe verlous ain regional styles ‘But at the begining of the century, Mochs Ange! announced his intentions unequivocal with equal measures oF Youthful cotidence and techies matty. He carves the fee tom a single beck of Carrara marble, excopt forthe bronze My original placed inthe ight hand, and pushed tothe ttthe state posses ofthe modu. At the most fundame tallevel,eary modem monumental scupture was a hacarous venture the manipulation at weight. The untimely 1667 death stust twenty-nine ofthe gifted sculptor Mitr Ca offers | sobering reminder of this fact Cat was mortal ined in the foundry a St. Peter's when 9 section of fl slo mode ‘upon which he was working detached trom he supporting wall ‘20d fell upon tim Beyond this physical reaty, the scptor ‘had to manage the visual and expressive eects of weigh and falar todo so successtly could be fatal other way As 9 ‘young sculptor in Rome, Mochi would have boon fon with {the most notorious example of such a faire, th colons mar be Moses on the Fontana delAcqua Felice by Proopero Bro ‘iano and Usonardo Sormanl, unwed in Y888, The sculptors lock of experience with the colossal format led therm to mis- ‘Gauge the proportions ofthe igure, whose datessingly heavy ‘appearance destroyed Brescions's artic reputation. Ii his Orato Arps Mochi staked the wor’s impact squarely upon his exceptional aity to calculate the material strength and static oqulbium ofthe sculpted form. The angel {perched upon an arc of wailing coud, withthe anges wings, ‘oth arms, font ke, and back leg, a wel as the cratic ‘ovate caper all extending wel beyond the narrow base of ‘loud upon which the igure i balanced. Tne daring compost ‘lon is unprecedented ina lesize marie ecuplure and makes It eppear that the Angele descending through the ai from, ‘above, an illsion whlch vualy reverses the ysca rea ‘ofthe excavated romains of 4.000 klogram or 8 995 pound block sustained by th ground beneath The effect depends ‘pon the figre’s apparent feadom rom is support and upon the visual ssolution of that support int the nonrarchitectonc and conceptually weightles cloud forms But Moch'sstate- ‘es for making marboAy extended beyond the design of the Statue set o include a starting propowal forts talon in the cathedral According to tho meeting records of th calte- ‘ral superntondent, Mochi wanted the Ags mounted directly ‘upon the balustade atthe entrance to the chow 2. The sculptor comsinced the superintendents o try the arrangement (on 8 provisional Bass, which involved the wo of temporary ‘wooden base which must have served to extnd the nartomer ‘with ofthe balustrade rang to the with ofthe sculptre's ‘loud bese The Angel and ts traling coud were thus road up Into the ar without a standard pedestal to lrupt te sion ry Cotas ik ‘Motes dat Oper ge Duan EON HEB-S, marble, Ovo, ttewe ty Catan on ak of ght and appeared to hover instead above the actual archt- {etute ofthe shot UL usta marth ater the statue's insattion in this man notin Ape of 1605, the superintendents noted! the need tO {ecide about the Angs permanent location, indicating their Uoorainty about it curent poston. Over the next two and 1 half years, tho superntondonts soom to have been caught between certain fascination withthe instalation and a per- ‘vase ancety about is stability: despite the power of Moch’s Iaion, they femained al oo auvare ofthe statue's real weight Images af he Aga fling rather than thing punctuate the mi tes of series of meetings beginning in November ofthe fl lowing yea. The superintendents noted that dechion about the state's location munt be made “3 soon a posible soning the danger tht threaten tints current poston” By January 1807 3 tadtonal pedestal had been made forthe statue “to protect trom any danger that could Ooo” andi wa urged {hat the Angel be moved onto the new pedestal even though the podestas final location had not yet boon decided. Despite this sone of urgney, It was another year before the statue ‘was finally moved off the balustrade, so that would no longer be "at risk of ruin” and onto the padestal set tothe proper let ofthe high altar, whore tho sculpture romained unt the late rinetoonth century (1.2}° Tho fact that he new pedestal ‘was higher than the balustrade indicates that what troubled the supenntendants wae nether th statue's precarious look: Ing pose nor the balustrade’ height. but the soundnees and Staoity of the balustrade as a support? Moch, by contrast ‘must have deemed te avangement structural sound. As wit hisarving ofthe statue el, Mochi wes certain that he could determine precisely the boundaries of the physically pessiie and locate his work on that edge, in this ease Mealy. For 98 1 seulpor inthe sicterth-centary Florentine tation, Mochi ‘wat seoking mare than a visusl-and thus utimatly painter Iason: Seeing an angel was one thing, but balancing an wntor- (ving mass of marble on such caleuated edge was shy {angle accomplishment that vrged iol on the supernatral With analogous confidence, Mochi signaled his attic all ‘since by auotng nthe foto the Ange the much tate, ‘ractuly perched of oot of Michlangol's bya Se rom ‘he Sistine cong. The tes of th Ago barely dopress the top ofthe cloud, onthe sie of wich Mochi card his signature, Geclring ims he prod helt to 2 weighty tradton that he St bore ity8 ‘The Ange! suecesstuly launched Moch's career, and in the year folowing ts completion, the sculptor was back and forth between Orvieto and Rome, completing further sup tures for Orvieto cathedral and entering the patronage ofthe Barbera fami in Rome. Then in 152 Mochi was called to th Famese duchy of Parma and Piacenza, again though the recommendation of Maio Farnese, whore ho would spond the hnoxtseventoon years carrying out ond personaly costing, Wo bronze equestrian monuments tothe reigning Famase dike fd hs father, complete with elaborate pedestal ornament Im May 1629 the nearly fity-yor-old Mochi rotumed to Ram sccording to one contemporary sso called thereby his ld patron, Malloo Barber, who now reigned a4 Pope Urban vit nd wished te employ the sculptor" The report age Cue, or the previous May Urban anc tho Congregation ofthe Fabrica fof St Peters had decided to pursue an smbilous plan forthe ‘ecoraion ofthe crossing plors ofthe basics; the project ‘was designed bythe young Gianlorenzo Bernini and incorpo ‘ated colossal statues of saint related tothe basiic’s most Important relics. By November Mochi had begun the made or the St Von, an in December Mochi, Frangois Duquesnoy, ‘Andrea Bolg, and Bonin wore oily named by the Force 235 tho sculptors for th status of St Veronica, St. Androw, '5t Holona, and St. Longines, espectvar = "Matfoo Barberi! was twelve years olor than Moch and 8 Florentine; he understood and deeply admired Moch's com Titmont to tho Fleretino tration. Asa cardinal, Maffec had ‘oofeousl opposed tho exocution of Caro Maderno's lon for the competion ef St. Petes caling forthe abandonment of Madero’ projet and a etun to Michelangelo's wslon forthe basta. Though he was unsuccesslulin tus regard, os pope Natfoo worked out plan forthe decoration of the crossing bls that shows ey Meetrgsiesaue sana and ‘erlestplan forthe pier decoration, dating to 1627 and recorded ina workshop sawing, envisioned a smal chapel st ito tho ttwer riche of each pier and adorned with bronze sculptures; {ull sale model ofthis solution was bull ith mock-up of Statues of Veronica and fo angel tod at lorent scales, ranging for the Veronica betweon heights of about 27 and 3 tetera Trough a process tht isnot well documented, the ‘eceraton ofthe pore was raicalyreconcoived by 1628; the ‘Sbove-ground chapels wore siminated and the bronze stat- tos replaced with marble igures of a staggering height of 45 rn atone oni eters. Even mote astounding, the earest records related tothe ordering of the marble forthe statues ines thatthe ‘ope’s ina hope waa thet each statue would be carved roma, Sale colossal block By the following year, however, though, {hore were quarry owners im Carrara sho claimed they could serio tis request, Urban had concluded that the costs of “wanspert wore too prhibtve and commanded that the marble foreach statue be quarid in two large blocks.” ‘While Urban had placed the overall esponsbity forthe crossing decoration nto Bern's hands, Ne clearly eonsidered Mochi talent indopensable tothe realzation of ts satura program. Just how indispensable attested by the fact thet the pope alowed Meh to carve the Sterna in his home at SL Peters, where the other sculptors worked under Ber ‘fs superdsion. This special dispensation entased signicat datona risk and expense, inclodng necessary modifeations to Moch?s workshop. Since Mach’ fll sale model vine tnvoted in St Peters and approved by the pope in Feb 1692, the seuiptors insistence upon working independ ‘cannot bo attributed to any secrecy regarding the appearance ‘ofthe Voronca Kmay, however be explained by Mechs desire to safeguard knowedge of how the final state wos mad. For Ist 95 Mochi had begun his carer wth a sculpture of stun- hing witwesty, he intended Inthe Vreica to resize 9 coloe- 0s of extraoranary technical daring, owing him, his own ‘words “to seal his od age with a memorable work” fg Sh." His conception fly united ths ambition with his devation to the Florentine triton: 08 have argued elsewhere, he econ caved the typical static portrayal f St. Veronic wth the vil by means ofthe running female gure dubbed the “Ryepha by Aby Warburg, an ancient mot long enslvined in Florentine it and aft theory. Building upon the figure’s frequent adapt Toned forthe erosing an eruption of both religious passion and forernita. The bold fea required en to work ut the sat ies for an unprecedented type of tatoe: 9 running colosus. Mochi roma i represented In an unstable posture, with both fect partly raised from the ground and a pronounced forward ian that Breaks the boundry of the riche. Mosh biographer, Passer, clearly registred his shock regarding ‘the sculptors conception: “Moch represented (Vronico] In maton vilont meio, not Just wating but running fst and hore the work betrays is own essones, because tho word 25statue derives rom the Latin verb stare, which means tobe sti, Stable, and on one's fot, thet figure ls no longer 9 permanent {obo enjoyed and admired by beholder, but a porsonggo who [pees by and dows nol vem nth samo volume Pacer raced Borin’ sia aetvatd Apolo and Dace without ‘questioning its status a sculpture. Hes comment on tho Vro- Ica thon, may point te his visceral unoaso asa vewer of ths ‘ect of forward momentum at colossal Scale, whe his resort {othe term porcanagl ot the statue seme to signal a certain {Gstante forthe unmistakable bravado of Moc undertaking Passerl's comment presaged a long history of negi- tive eiciom of the Seuptre, which irnicly has Been con donned in the modern therotire ea bot o joing upton to Berin’s program and an imprudent concession to Bernini syle. This storiography overlooks Urbans reat admiration for the Veronca, roorded by Passer and evoked by notices In two swiss Some month after the statue's instalation Ih ‘St Peter's, but sl five months befor ts ul completion and ‘fei unveting, Urban sipped into the besa “to have a ook {at tho marble statue made with great artifice by Mosh.” At the “uvolng forthe pope In Novem 1640 Urban “lingered olook tit bone te very beaut and well made Un under ‘Stood what Mochi hed aocompised in the Veronica and what the very nature ofthe accomplishment kopt to wall aden, ‘tba inal hope thet each of the colossal statues could be carved from 8 single block followed a erica deal ‘led by Pny and ethorancint authors and embraced by Fo- ‘enti or were and sculptor, above all Mcelengelo” AS we have seen, Urban almost immediately had to sacrifice ths ‘deel because ofthe enormous expense and practical iesty ot transporting colossal Blocks In period erm, 9 corallary ‘ofthe single block dol was the vow that i statue hd to be ‘made trom multiple blocks, the seulplor should preserve the ficton of single Bock by careful concealing the oi 20 that o tat they would be undetectable except by an expert ‘ye. Vasr spoke disparaging ofthe notieable ois that he found disturbingly common among moder satus, character- ‘zing such join as a cobbler's work necessitated by carving ‘mistakes and as" thing most wl and ualy and worthy of he ‘greatest blame." Based upon documentary records of the acquisition of the marble blocks and visual Inspection ofthe crossing stat ‘bs, tt appears that Boas St. Hora, Borin St Longs, andDuquesnoy's St Anew were each constructed trom two main blocks arranged in sin Tashi The lower body of each figure was carved rom one block, wth the length ofthe block {et upright, From the second Black was carved the majony of {he upper body and head which was then placed onto the rst. tock wth Jan runing on 8 roughy horizontal ans. Ale ‘ional smatler locks were then oned to the sides ofthese fst fo in order to accommodate extondd lbs and sections of lowing drapery. Inthe Hens, for exampo, the main hor Zortal in canbe clearly seen, slong with avr jan nthe ‘rapory atthe edge of er proper right shoulder (ig. The Join inthe Si Lengias were much more efectwoly concealed In tho folds of the drapery, but have become easlr to spot because oft degradation ver ime of the stucen applied to ‘mask tem tig.) The main horizontal oni tucked behind the large ost above th iure's ips whe the it sido of the sui'sconvatsed cloak sa separate piece joined tthe ear of tha statue, Longins's extended proper ight am Is ined tO the torso by an ron rod whose decay ana expansion ovr the centuries presumably caused the isle cracks the adjacent hesteea, The documonts ineate that timely sb soparto ‘locke were used forthe S. Arden, not including the cross, which a made of stucco-covrod bronze 61% Ina srs of ltrs to the Congrogatin of the Fabrica seeking greater compensation for his work on the SL Yron- Sa och sttessed the tremendous effort and study he hed Dut into the statue, and ne sngod out in portular the way he Fra joined the blocks. For une the other three status, the \eroncas not made rom two primary blocks with two or more Sailer marble addtana onthe sides but ae Mach! explained from Sst three great blocks, ut together in 2 most ‘eficut ‘way in which the joins are never sean again The documents ‘egnrding the marae forthe Vernica bear out this eam The ‘cuptor recived tree lage block, two that were close Ih helt at out 25 and 2.25 meter, with respactve worghts 11.300 and 18,60 klogroms (2,72 and 40.477 pounds) the height ofthe third block e gen 9 just over a meter, but wth 1 alghly greater woight han the fret wo, at 21420 Kilogram (7228 pounds). The document recording these messureme ‘oles tat the fet block was or the wer potion of he statue (Cpe wha the second and third Bock were designated for "he buat” (bite) and "the saint G9 Sart)" When the blocke were delored to Moch's home workshop, ony one ‘wae et updght, presumably the block for the lower portion otoa the statu? The two other blocks were evidently carved into ‘complex forme that were then interlocked to frm the entire Upper portion of the St Verena, nclusing the extended arms nd the Blowing suderom. The solaion was highly unusual fnd required precae calculation of the forces exerted by ‘the enormous weight of each ofthe upper blocks-a process ‘loser to areitectural construction than tothe stondard and ‘much simpler procedure of paging smaller adctions onto ‘ies ofthe primary Bock. nFabruary 1697, about weno ‘montis after tho delivery ofthe marbles to Mocn's workshop, payments record ni use oer a twordey period of winches that were employed to and put together the carved Blocks in ‘hs studios Tis stop must have been necessary to test tho ft between the complex shapes. When the statue wos Trane Potted to St Peter's about two and 8 half yers later, was Inoved at toe separate blocks. ints fel assembled state inthe basiia, te genous construction makes possibe the tramati forward ean ofthe figure with the extended elemonts ‘tthe upper body sustained and counterweight by th ds {bution of weight through the bv large upper biocks. At the lower lt rear ofthe gure, Mochi atined some of the mare block to provide adetiona counterweight; upon thi remnant of the block, he carved his signature, signaling Ne extaordnary balancing act nth Varnes "No wonder Urban ingered sn front of the statue. The Roman sculptor Orfee Bosel nhs treatise on sculpture prac- tie wate nthe 16505, strossed the importance of hiding the joins between the blocks of larger seulpures, and he ced as ‘xamples oft thee of the eonsing colons: the cron, the ‘Cangnus and the Verona The omission of the St Hoa su9- (este that Bolg? mat horzonal jin, which ute attrac Sorat the fold ofthe drapery, fll hort of exemplary prac ‘ee. But the lock of dtintion made by Bosell between the ‘other thee statues points up anothor fact while Moch' pains- {aking construction ofthe Veronica far exceeded standards of "sculpture practice, the slutin’s very sity ensured a lack ‘of wider appreciation ofthe accomplchmont. Even the book ‘of thiry-st poems published in 681 and written by various ‘ontemporaryartate and Ist in praise of Mochs Vroicn oalets th sopect of the stata" And despite these sap- Porter, ts clear than many af Moch’s contemporaries fund fis adoption of the Nymph gure forthe Veronica bath Bizarre ‘nd strained: Gosel's only ater comment on the statue i is Irontise as to cite approvingly a woman's query, “What do sory Colton and ak ‘many folds on a slaave mean?" in his St Longin, Bernini ‘evized wet would Become the dominant solution for seven- teonth-contryraligious sculpture, a solution that broke with ‘many ofthe siteeth-conry artistic values Mocha Hight Ing t preserve, and which lent Ksaf much more eas to ef ‘Sent werkshop production. In the aftermath ofthe crossing commission, Mochi was Increasingly aware of both the weight and the agit of is ‘sccomplishnent and of is Mfelong mision to cary forward the Poretine tration. When, two yeas afer the unveling of ‘he Vorerisahe leamed that Whed boon decided fo gin dt- in the crossing statues on a wookl basis, Mochi wrote the Fabrica to express hi tress about the plan His ter offers ‘2 vd image ofthe potential fr damage to te Veroncs “By {ceident of negligence, the ladder or some other implement ‘ould fall and kneck tothe ground an arm, 2 hand, th vl or ‘another par" Mochi requested that to statue not be dusted, ‘0 that" would not bocome more pieces than the thre given {© me by your Eminences In the liter Mach also voiced _anothor concer regarding the statue's possibilty for collapse: “nd since | cant romain without grave anxiety regarding the ‘soounty of tho sald werk, 1 bog that you dolgh to reexamine Its securty given the Imperections of the pedestal which i In ovary respoct Incapable of sustaining the weight, as was ‘expressed to our Eminences on athe oecasions"® ‘One look a the pedestal of tho Vorrice reveals th cause ‘of Moch's worry, though iis anisue that surprisingly seems to have atvacted vitally no atortion In either architectural ‘tudes of St Peter's or in accounts of the croseng decoration. When the docision was mace to replace the smal chapels end ‘bronze sculptures intalyplonved fr the per wih colossal ‘marble statues, the new plan moved the chapels dedicated {0 ooch saint bolow th pavement of the basta, tothe lve ofthe grottoes. These new grata chops were bull Between ‘628 and 16840 by the Fabbicas chil mason, Benedetto re, following & design by Bern. A newy Gscovered document ‘suggests that Madern, wo ded in January 1025, sso played ‘an important col inthe project The chapels wore excavated ‘Greet beneath the niches ofthe croeing pies; to provide access to the groto chapels, stairways were constructed that ‘between the chapel and the pier niche above. These sts run ‘rectly beneath th ror hal ofthe pedestate ofthe four stt- ‘es ig:7) Moreover, decorative meta gis et into the rot of us:6 the substructure ofthe pedestals and into the adjacent area of the pavement grant views ito the chapels Dlow The colo fd the podestate thas appear set over veda, wth the Weight balanced between tho apse of he ite chapel Beneath andthe per the weight Is evident rected into these front and rear upports by 2 lock of stone concealed ini the pedestal and Gacretaly Inserted into the Body ofthe pler behind the ped ‘etl The pilgrim vetng the grotto chapel, then, must Nowe ‘Shficent faith to wat beneath the unfathomable weight ofthe olosus, which, asuming a los of between one ha and one ‘ir of te orginal weight of he blocks, or the Verncs can be ‘estimated at roughly 3439 klogfoms or about 75,687 pounds ‘ary ftoon times the extmated weight of the Orvotoogol och ack of soc faith must beset inthe context of ho con ‘woversy that erupted in 1698 regarding Bernini's interventions Inthe crossing arhitectre; cries clolmed tht Beri had \teakoned the pars and aggravated a crackin te dome of he basil, An anonymous report to the Fabbvica eaised, mong ‘other romedies, tat the grote chapels be filed In immed ‘tly These fears wore evident unfounded, but when Mech ‘rote hisletor tothe Fabrica in 142, Ber ‘racks inthe facade, generating ing Berni’ reputation ae an arctect. After Urbans death In 4644, Beri found himself out of favor withthe new pope, Innocent X but succeeded in winning his way back ito papal Datronage wth his design for Innocents Fou FversFouran {ig,8) Borin’s placement ofthe fountains weighty obelisk ‘over avoid tired fear and wonder among his contemporaries, land tho daring design has boon understood by scholars ‘in’ overt defence of his archtectoral skis Analogies have ben suggested betwoon Bornin's dosgns forthe bel tower rth Four Piers Fount but seems o have gone unno- tied tha the real prehistory of is conception or the fountains Structure isto be found Inthe crossing of St Pato’, onthe ‘maligned piers themsaves*" Th 1651, white Moch! was working on his model for the ‘SL vrnica, he made a tip to Orvieto for unexplained reasons; fone ie tempted to speculate that he wanted to se his Argo ‘pain ashe thought though his solution forthe Vorovca During that unexpected vit, the Orvotans took the opportunity to ‘commission trom Mach a statue of Thaddeus forthe catho- ‘ra. Moc carved the statue In Rome and fished it onl in ‘644 after the completion ofthe Varonies (9)3" That sum ey Cote ak‘mor the Thaous was erated up In Moch's Roman studlo and loaded onto cart drawn by egtteen oxen. The statue's journey 1 Orato took twenty-2ight Joy, and asthe animals labored ‘towards the plata of the ey, the cart role or eallpsed on {oo diferent occasions. On the secon al the Book hel by the ‘hint was broken. Mochi traveled to Orta to repair and par {ect the statue, and thre he saw once again te Aga he Rod ‘cored in his youth. The interning thteen years had seen ‘he realization of his most prestigious commision, but twas, ring these same years thet Mochi seems to have become fully aware of "tho weight, the Inert, and the opacity of the ‘world to quote alo Calvin's beaut easy on te ally ot lightness Upon seeing the Angel Mochi sad repeated to {tend that "he wos aatonahed tet he had dared to carve the statuo n sucha pose" xm Conan Ra ne Se eerie mae Baieee ence eee Sealer oromeeerteee So eee reenter Sogn te reer aa sere Scare eee ie lr One Cte eee arnt 6 0 yee, 6-7. op ae oe fescaceettan etcetera ca a a arerctertpstetn Seton te I ees meee ce veas ine Sere cecemn get feces earerrere ‘Sarma n San Metin Vata: al beset assaf Seas (Catar Poa Os Kuri une tan Vili: Die Petrie in em Sse horeeane Famer, Ok Fansietogaytin 0-30: "La presents ate moto, Reasons aa Sees eacmersonmees epee caves eee. tories eco cen Siaaie pa as manson faces Ee See Se eee* steer ee name a ae a as Siena fonts am 2 Bega ES wm 2 ferment aS on 5 rear, sess Mn ter ta 06 parce Gre Upset ‘rae non bu ear vena gave genie ree et pen, ‘Te Carat secu ot Se Ctaetetion of the grote chap Vario Se 2 ont mongers ——— ec ° en etree Ree etedmeeinme ecm eee eet cope intanc anton a ope neem 41 Gugino Det Vat, Sta Gel Cuomo A Onto Reme, 178, 226, 363, (eam, Photo Credits 4 Sir aren nm can tr Sa Bente a caren NY 4 Rist Yona eat © oe ‘Serger os Sa anaes