Class code ARTH-UA 9307

Name: Bruce Edelstein NYUHome Email Address: [email protected] Office Hours: Mondays, 3:00-5:00 p.m., or by appointment Instructor Details Office Location: Villa La Pietra Office Extension: 246

For fieldtrips refer to the email with trip instructions and trip assistant’s cell phone number

Semester: Spring 2012 Full Title of Course: The Age of Leonardo, Raphael and Michelangelo Class Details Meeting Days and Times: Thursdays, 9:00-11:45 a.m. Classroom Location: Le Vedute, Villa La Pietra

ARTH-UA 0002 (History of Western Art II), or ARTH-UA 0005 (Renaissance Art), or AP Art Prerequisites History score of 5, or permission of the instructor

This course is conceived as a focused study of the works of Leonardo, Raphael and Class Description Michelangelo, the men whose careers largely defined the concept of Western artistic genius. Particular consideration will also be given to their Florentine contemporaries and followers in order to take advantage of the opportunity to the study these original works on site. Renaissance art cannot be divorced from its times; thus, much attention will be given to contemporary history, especially Florentine politics and politics in Papal Rome. Special attention will also be given to the evolution of drawing practice in sixteenth-century Italy, an essential development for the changes that took place in the conception of works of art over the course of the century.

On completion of this course, students should: Desired Outcomes • Have improved their ability to think critically, engage in complex reasoning and express their thoughts clearly through their written work • Have improved their understanding of the methodologies of art history • Have mastered a basic understanding of how to research questions in art history • Recognize works by the principal protagonists of the High Renaissance and Mannerism in Central Italy and understand why they are significant for the history of art

Attendance and Participation: 20% Assessment Components Midterm Exam (approximately 6-8 handwritten pages): 20% Oral Presentation (10 minutes): 15% Final Exam (approximately 6-8 handwritten pages): 20% Term Paper (approximately 8-12 typewritten pages): 25%

Failure to submit or fulfill any required course component results in failure of the class.

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Exams: For the midterm and the final exam you will be shown a series of images to identify and describe (10 works shown for 5 minutes each: 2.5 points per ID; 7.5 points per description). The images for identification will be chosen from among those shown during lecture, seen in your readings or works seen on site: all images seen in the exams will have appeared in at least one of these places. It is recommended that you keep a folder on ArtStor of images of the works listed on your weekly handouts in order to facilitate studying for the image identification portion of the exams. For each image shown, you will be required to identify the artist (if known), the name of the work, its material or materials, its present or original location, and its date (within five years on either side of the actual date). You will then write a brief description of the work in complete sentences, identifying the work’s importance to the history of art as identified in class and/or in your reading. You are expected to cite relevant assigned reading in your responses; answers that do not cite any of the assigned reading will not receive full credit. In this context, it is sufficient to cite the name of the author to whom you are referring. The final is comprehensive, although greater weight is given to material covered in the second half of the course. Both the midterm and the final are carefully timed: if you have a recognized learning disability for which you are entitled to extra time, please speak to someone in the Office of Academic Support immediately to insure that we can make proper arrangements for testing.

Presentations and Term Papers: The last portion of this course will be run as a special seminar on: drawing practice in the High Renaissance; Mannerism; and court culture. Group presentations will serve as the basis for our discussion. These groups will be formed during the first class following the end of the drop/add period, and the topics to be discussed will be assigned. Each group will research and prepare a presentation that will last no more than 30 minutes; individual presentations should be no more than 10 minutes each. Students should arrange to meet with me individually or in groups well in advance of their presentations to discuss sources.

Your presentation should present the principal themes of your term paper but should not be a reading of your term paper. You will have the opportunity to present all of your research in your term paper, which will be the final written version of your portion of the topic presented in your group presentation. The term paper also provides an opportunity to make corrections or adjustments to your presentation material in relation to the class discussion that will follow these. The term paper should be a well-organized essay in defense of a thesis statement. The written version should include references to all sources used, regardless of whether they were also assigned readings from this syllabus or electronic resources. Failure to properly cite your sources constitutes plagiarism (see below); if you are uncertain as to how to properly cite sources, please do not hesitate to see me during office hours or to contact me via email.

Group presentations will be on one of the following topics:

1. Drawing Practice: Composition Studies, Figure Studies and Finished Drawings 2. The Rise of Maniera: Fra Bartolomeo, Andrea del Sarto, Pontormo and Rosso Fiorentino 3. 16th-Century Court Art: Painting (Giulio Romano, Bronzino, Salviati and Vasari) 4. 16th-Century Court Art: Sculpture (Bandinelli, Cellini, Ammannati and Giambologna)

Should there be more than 15 students in the class, other topics will be assigned.

Sources for your research may be found among those listed on this syllabus, in the Course Reader on our Blackboard site, or any other relevant source available in the Ulivi Library, the British Institute Library, Library of the Dutch Institute, the Library of the Center for Renaissance Studies at , JSTOR or other databases of scholarly articles (i.e.,

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see “articles via databases” on the NYU Libraries site – link in External Links on our Blackboard site).

Readings and Amici Cards Readings are assigned on the syllabus under the week for which they are due; that is, they must be done in advance of the lecture for which they are assigned. All students at NYU in receive Amici cards. These cards are invaluable resources both in the classroom and outside. You are required to bring your Amici cards with you to all site visits, regardless of whether or not the sites are among those for which the cards provide free access. You are also required to go on your own to the , the and the Galleria Palatina to see any works which appear in your readings that are in those collections; this is to be done in advance of the lecture for which that reading is assigned.

Grade A: The student’s work demonstrates an understanding of the subject that goes Assessment Expectations beyond assigned course readings. The student writes essays/exam questions that are an original synthesis of source materials, demonstrating the ability to evaluate source material critically. Written arguments are clear, well-organized and well-presented; oral presentations are concise, incisive and supplemented by appropriate visual materials. The student has distinguished himself/herself throughout the course of the semester for his/her contributions to class discussion.

Grade B: The student’s work shows a clear understanding of assigned readings and materials covered in class. The student writes clear, well-organized and well-presented essays/exam questions; oral presentations are concise, incisive and supplemented by appropriate visual materials. The student is prepared in class and asks relevant questions.

Grade C: The student’s work shows a basic understanding of the subject treated in assigned readings and covered in class. However, written and/or oral work is deficient in one or more of the following areas: clarity, organization or content. The student’s work is generally in need of improvement

Grade D: The student’s work shows occasional understanding of the subject treated in assigned readings and covered in class. Written and/or oral work is deficient in one of more of the follow areas: clarity, organization or content. The student does not participate in class discussion and has not frequented the instructor’s office hours.

Grade F: The student’s work does not demonstrate understanding of the subject treated in assigned readings and covered in class. Written and/or oral work are either insufficient or are not submitted. The student appears unprepared in class and has not frequented the instructor’s office hours.

A=94-100 A-=90-93 Grade conversion B+=87-89 B=84-86 B-=80-83 C+=77-79 C=74-76 C-=70-73 D+=67-69 D=65-66 F=below 65

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Grading Policy Please refer to Assessment Expectations and the policy on late submission of work

Attendance: Attendance is expected and required of all students. Any absences will negatively Attendance Policy impact upon your course grade

Absences: In case of absence, regardless of the reason, the student is responsible for completing missed assignments, getting notes and making up missed work in a timely manner based upon a schedule that is mutually agreed upon between the faculty member and the student

Absence Due to Illness ● If you are sick, please see a doctor (contact the OSL for information). ● Only a medical certificate from a local medical professional will be accepted to justify an absence due to illness ● Within 24 hours of your return to class you must bring this note to the Office of Academic Support, located on the ground floor of Villa Ulivi. We will review the medical certificate and we will notify your faculty via email about your justified absence due to illness ● Absences for short term illness without a medical certificate are not justified and count as unjustified absences. We will not accept a student email or telephone call regarding an absence due to illness. We will not notify your faculty about these absences ● The Office of Student Life, when assisting you in cases of severe or extended illness, will coordinate with the Office of Academic Support to properly record your absences Due to Religious Observance ● Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday ● Students must notify their professor and the Office of Academic Support in writing via email one week in advance before being absent for this purpose Due to a class conflict with a program sponsored lecture, event, or activity ● All students are entitled to miss one class period without any penalty to their grade in order to attend a lecture, event or activity that is sponsored by NYU Florence or La Pietra Dialogues, Acton Miscellany or the Graduate Lecture series. ● Students must notify their professor and the Office of Academic Support in writing via email one week in advance before being absent for this purpose ● All course work must be submitted on time, in class on the date specified on the Late Submission of Work syllabus.

● To request an extension on a deadline for an assignment, students must speak to the professor one week prior to the due date ● To receive an incomplete for a course at the end of the semester, two weeks before final exams, both the student and the faculty member must meet with the Assistant Director of Academic Affairs to review the request and if granted, they must both sign an Incomplete Contract detailing the terms for completing missing coursework.

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PLAGIARISM WILL NOT BE TOLERATED IN ANY FORM: Plagiarism Policy The presentation of another person’s words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism.

In the event of suspected or confirmed cases of plagiarism, The faculty member will consult first with the Assistant Director for Academic Affairs as definitions and procedures vary from school to school. Please consult the “Academic Guidelines for Success” distributed on your USB key at Check-in and on the NYU Florence Global Wiki.

For a detailed description of some possible forms of plagiarism and cheating please consult the Community Compact that you signed at Orientation, a copy of which is on the above mentioned Wiki and USB key.

Some assigned readings are to be found in the following texts, available for purchase for this course at the Paperback Exchange, via delle Oche 4/r: Required Text(s)

. Jerry Brotton, The Renaissance: A Very Short Introduction. Oxford, 2006 [hereafter, “Brotton”]. . Robert Klein and Henri Zerner, Italian Art 1500-1600. Evanston, 1966 (1990 reprint) [hereafter, “K/Z”]. . Stephen J. Campbell and Michael W. Cole, A New History of Art. London, 2012 [hereafter, “C/C”]

Other assigned readings are to be found online, through links available on our Blackboard site; you will also find links to useful reference works through our Blackboard site under “External Links.” The following texts, available in the Villa Ulivi library, contain other assigned readings or are recommended as extra resources for questions on high renaissance Supplemental Texts(s) (not art and for presentation and term paper research: required to purchase as copies are in NYU-L Library Primary Sources: or available on line) Vasari, Giorgio. Lives of the Painters, Sculptors and Architects, 2 vols., trans. by Gaston du C. de Vere; intro. and notes by Ekserdjian. London, 1996 (please note: this is the preferred edition in English as it is the only one that is COMPLETE!). Saslow, James M., ed. The Poetry of Michelangelo: An Annotated Translation. New Haven, 1991. Buonarroti, Michelangelo. Poems and Letters, Selections with the 1550 Vasari Life, Antony Mortimer, ed. London, 2007. Bull, George, ed. Michelangelo: Life, Letters and Poetry. Oxford, 1987.

General Studies: Ackerman, James S. Distance Points: Essays in Theory and Renaissance Art and Architecture. Cambridge, Mass., 1991. Ackerman, James S. Origins, Imitation, Conventions: Representation in the Visual Arts. Cambridge, Mass., 2002. Campbell, Stephen. The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d'Este. New Haven, 2006. Campbell, Stephen J. and Stephen J. Milner, eds. Artistic Exchange and Cultural Transmission in the Italian Renaissance City. Cambridge, 2004. Dunkerton, Jill, Susan Foister, and Nicholas Penny, Dürer to Veronese: Sixteenth-Century Painting in the National Gallery. New Haven, 1999. Eisenbichler, Konrad, ed. The Cultural Politics of Duke Cosimo I de’ Medici. Aldershot, 2001. Eisenbichler, Konrad, ed. The Cultural World of Eleonora di Toledo, Duchess of Florence and

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Siena. Aldershot, 2004. Franklin, David. Painting in Renaissance Florence 1500-1550. New Haven, 2001. Gouwens, Kenneth and Sheryl E. Reiss, eds. The Pontificate of Clement VII: History, Politics, Culture. Aldershot, 2005. Hall, Marcia. After Raphael: Painting in Central Italy in the Sixteenth Century. Cambridge, 1999. [hereafter, “Hall”] Hopkins, Andrew. Italian Architecture from Michelangelo to Borromini. London, 2002. Jestaz, Bertrand. Architecture of the Renaissance: From Brunelleschi to Palladio. London, 1996. Lotz, Wolfgang. Architecture in Italy, 1500-1600. New Haven, 1995. Millon, Henry A. and Vittorio Magnago Lampugnani, eds. The Renaissance from Brunelleschi to Michelangelo : The Representation of Architecture. Milan, 1994. Murray, Peter. The Architecture of the Italian Renaissance. London, 1986. McHam, ed., Sarah Blake. Looking at Italian Renaissance Sculpture. Cambridge, 1998. Paoletti, John T. and Gary M. Radke. Art in Renaissance Italy, 3rd ed., London, 2005. Reiss, Sheryl E. and David Wilkins, eds. Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy. Kirksville, Mo., 2001. [hereafter, “Reiss & Wilkins”] Rowe, Colin and Leon Satkowski. Italian Architecture of the 16th Century. New York, 2002. Rubin, Patricia. Giorgio Vasari: Art and History. New Haven, 1995. Shearman, John. Mannerism. Harmondsworth, 1990 [hereafter, “Shearman, Mannerism”]. Shearman, John. Only Connect: Art and the Spectator in the Italian Renaissance. Princeton, 1992. Van Veen, Henk Th. Cosimo I de’ Medici and his Self-Representation in Florentine Art and Culture: From Lofty Ruler to Citizen Prince. Cambridge, 2006.

Monographic Studies: Ackerman, James S. The Architecture of Michelangelo, 2nd. ed. Chicago, 1986. Bambach, Carmen C., ed. Leonardo Da Vinci: Master Draftsman. New Haven, 2003. Clark, Kenneth. Leonardo da Vinci. Harmondsworth, 1993. Hibbard, Howard. Michelangelo, 2nd ed. New York: Harper & Row, 1974. Hirst, Michael. Michelangelo and His Drawings, 2nd ed. New Haven, 1988. Hughes, Anthony. Michelangelo. London, 1997. Jones, Roger and Nicholas Penny. Raphael. New Haven, 1983. Kemp, Martin. Leonardo da Vinci: The Marvellous Works of Nature and Man, new ed. Oxford, 2006. Marani, Pietro C. Leonardo da Vinci: The Complete Paintings. New York, 2003. Nagel, Alexander. Michelangelo and the Reform of Art. Cambridge, 2000. Nagel, Alexander & Christopher S. Wood. Anachronic Renaissance. Cambridge, Mass., 2010. Pon, Lisa. Raphael, Dürer and Marcantonio Raimondi. New Haven, 2004. Popham, A. E. The Drawings of Leonardo da Vinci. London, 1946. Rubin, Patricia Lee. Giorgio Vasari: Art and History. New Haven, 1995. Talvacchia, Bette. Raphael. London, 2007. Thoenes, Christopher. Raphael. Cologne, 2005. Wallace, William E., ed. Life and Early Works (Michelangelo: Selected Scholarship in English). New York, 1995. Wallace, William E., ed. The Sistine Chapel (Michelangelo: Selected Scholarship in English). New York, 1995. Wallace, William. Michelangelo at San Lorenzo: The Genius as Entrepreneur. Cambridge, 1994. Wilde, Johannes. Michelangelo: Six Lectures. Oxford, 1978. The careful use of internet resources is encouraged and a list of recommended websites will Internet Research be given. Failure to cite internet and other non-traditional media sources in your written Guidelines work constitutes plagiarism.

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Additional N/A Required Equipment

Marian Devotion: the Madonna and Child in the Home & on the Altar Session 1 Location: classroom 2 Feb.

Site Visit: Painting in Leonardo’s Florence: Paintings by Leonardo, Raphael and Michelangelo in the Uffizi Session 2 Location: Galleria degli Uffizi (meet outside at door 2) 9 Feb. Reading: C/C: “Introduction,” pp. 10-15; Chapter 9, “1470-1480: What is Naturalism,” pp. 232- 255. Brotton: “Introduction,” pp. 1-18. K/Z: “Michelangelo on Flemish Art,” pp. 33-35, Chapter 4, “Vasari:” “Introduction,” “The Rise of the High Renaissance,” pp. 73-79.

The Renaissance Portrait Session 3 Location: classroom 16 Feb. Reading: C/C: Chapter 10, “1480-1490: Migration and Mobility,” pp. 256-283. Brotton: Chapter 1, “A Global Renaissance;” pp. 19- 38. Garrard, “Who was Ginevra de' Benci? Leonardo's Portrait and its Sitter Recontextualized,” online article (Blackboard Course Reader, “Leonardo Sources” folder).

Presentation and Term Paper topics assigned

Site Visit: Portraits by Raphael, Titian and Bronzino in the Galleria Palatina Session 4 Location: 23 Feb. Reading: C/C: Chapter 11, “1490-1500: From the Margins to the Center,” pp. 284-323. Brotton: Chapter 2, “The Humanist Script,” pp. 38-57. K/Z: “Pontormo’s Madness,” pp. 79-84; “Raphael’s Development,” pp. 84-88; “A Naturalistic Theory of Beauty,” “Danti’s Aesthetic Idealism,” pp. 178-184. Greenstein, “Leonardo, Mona Lisa and 'La Gioconda': Reviewing the Evidence,” online article (Blackboard Course Reader, “Leonardo Sources” folder).

Field Trip: Milan Session 5 Location: Train Station, under the pharmacy sign 24-25 Feb. Reading: C/C: Chapter 8, “1460-1470: Courtly Values,” pp. 202-231. Ackerman, “Leonardo’s Eye,” online article (Blackboard Course Reader, “Leonardo Sources” folder). Wasserman, “Leonardo da Vinci's Last Supper: The Case of the Overturned Saltcellar,” online article (Blackboard Course Reader, “Leonardo Sources” folder). Varriano, “At Supper with Leonardo,” online article (Blackboard Course Reader, “Leonardo Sources” folder).

The Young Michelangelo Session 6 Location: classroom 1 March Reading: Brotton: Chapter 3, “Church and State,” pp. 58-78. Barolsky, “As in Ovid, So in Renaissance Art,” online article (Blackboard Course Reader, “Renaissance Art-Topics and Theory” folder).

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Session 7 Midterm 8 March

The Giants and the Giant: Michelangelo and Leonardo in the Service of the Republic Session 8 Location: classroom 22 March Reading: C/C: Chapter 12, “Human Nature,” pp. 324-369. K/Z: “The Installation of Michelangelo’s David,” pp. 39-44.

Papal Majesty: the Patronage of Julius II and Leo X Session 9 Location: classroom 29 March Reading: C/C: Chapter 13, “1510-1520: The Workshop and the ‘School’,” pp. 370-407. Brotton: Chapter 4, “Brave New Worlds,” pp. 79-95. K/Z: “Raphael Sanzio: Letter to Count Baldassare Castiglione,” pp. 32-33; “Appointment of Raphael as Inspector of Antiquities in Rome,” pp. 44-45; “Tommaso Vincidor’s Report to the Pope,” pp. 47-49; “Aretino: Letters to Artists,” pp. 53-54; “To Michelangelo,” pp. 56-58; “Dolce: Raphael and Michelangelo,” pp. 60-69; “The Counter-Reformation:” “Introduction,” The Council of Trent on Religious Art,” “Aretino’s Attack on Michelangelo,” “The Didactic Task of Painting,” “The Investigation of Veronese,” pp. 119-132. Even, “The Heroine as Hero in Michelangelo's Art,” online article (Blackboard Course Reader, “Michelangelo Sources: Michelangelo-Sistine Chapel” folder). Hall, “Michelangelo's Last Judgment: Resurrection of the Body and Predestination,” online article (Blackboard Course Reader, “Michelangelo Sources: Michelangelo-Sistine Chapel” folder).

Site Visit: Sculpture in Michelangelo’s Florence: Sculpture by Michelangelo, Cellini, Bandinelli, Ammannati Session 10 and Giambologna in the Bargello 5 April Location: Museo Nazionale del Bargello Reading: C/C: Chapter 14, “1520-1530: The Loss of the Center,” pp. 408-435. K/Z: Chapter 1, “Art and the Cultured Public,” pp. 3-28; Chapter 7, “Artists, Amateurs, and Collectors in the Second Half of the Century:” “Introduction,” “Cellini: Casting the Perseus,” “Bandinelli as a Nobleman-Artist,” pp. 137-150; “Borghini’s Circle of Amateurs,” pp. 153-155; “Bandinelli versus Cellini: An Intrigue over a Commission,” pp. 165-166. Cole, “Cellini’s Blood,” online article (Blackboard Course Reader, “Bandinelli and Cellini Sources” folder).

Site Visit: Michelangelo at San Lorenzo Session 11 Location: Cappelle Medicee, S. Lorenzo (meet at the back of the church at the entrance to the 12 April Medici Chapels) Reading: C/C: Chapter 15, “1530-1540: Dynasty and Myth,” pp. 436-463. Brotton: Chapter 5, “Science and Philosophy,” pp. 98-115. K/Z: “Views on Contemporary Art:” “Wilfulness in Architecture,” “The Limits of Michelangelo’s Art,” pp. 88-90; “Michelangelo’s Account of the Julius Monument,” pp. 160-165. Wilde, “Michelangelo's Designs for the Medici Tombs,” online article (Blackboard Course Reader, “Michelangelo Sources: Michelangelo-Architecture” folder).

Site Visit: Tombs, Tragic and Personal: Michelangelo in the Accademia and Opera del Duomo Session 12 Location: Galleria dell’Accademia 19 April Reading: C/C: Chapter 16, “1540-1550: Literate Art,” pp. 464-493. Brotton: Chapter 6, “Rewriting the Renaissance,” pp. 116-127. K/Z: Chapter 5, “Art Theory in the Second Half of the Century:” “Introduction,”

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“Michelangelo Sonnet,” “”Cellini: A New Method of Teaching,” “Cellini: On the Technique of Etching,” “Vincenzo Danti: A Functional Conception of Proportions,” pp. 95-105, “Michelangelo: Sonnet,” pp. 132-133: “Michelangelo: Sonnet,” pp. 177-178. Nagel, “Gifts for Michelangelo and Vittoria Colonna,” online article (Blackboard Course Reader, “Michelangelo Sources: Michelangelo-Drawings” folder).

Seminar, I Session 13 1. Drawing Practice: Composition Studies, Figure Studies and Finished Drawings 26 April 2. The Rise of Maniera: Fra Bartolomeo, Andrea del Sarto, Pontormo and Rosso Fiorentino Location: classroom Reading: C/C: Chapter 17, “1550-1560: Disegno/Colore,” pp. 496-521.

Seminar, II Session 14 3. 16th-Century Court Art: Painting (Giulio Romano, Bronzino, Salviati and Vasari) 3 May 4. 16th-Century Court Art: Sculpture (Bandinelli, Cellini, Ammannati and Giambologna) Final Review Location: classroom Reading: C/C: Chapter 18, “1560-1570: Decorum, Order and Reform,” pp. 522-553.

Due: Term Papers for Seminar, I

Final Exam (Seminar, !, term papers returned) Session 15 Location: classroom 10 May Due: Term Papers for Seminar, II

● Eating is not permitted in the classrooms. Bottled water is permitted. Classroom ● Cell phones should be turned off during class time. Etiquette ● The use of personal laptops and other electronic handheld devices are prohibited in the classroom unless otherwise specified by the professor. ● We recycle! So keep it green! Please dispose of trash in the clearly marked recycle bins located throughout the on campus buildings

Required Co- See Field trip description under Session 5 above. curricular Activities

Suggested Co- Suggested optional co-curricular activities will be announced in class and/or via email by the professor curricular throughout the semester. Activities

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