FREDERIC EDWIN CHURCH - ABANDONED SKIFF - 1850 - CANVAS PRINT

----------------------------------------------------------------------------------𝑭𝒓𝒆𝒅𝒆𝒓𝒊𝒄 𝑬𝒅𝒘𝒊𝒏 𝑪𝒉𝒖𝒓𝒄𝒉 (𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏, 𝟏𝟖𝟐𝟔–𝟏𝟗𝟎𝟎) - 𝑨𝑩𝑨𝑵𝑫𝑶𝑵𝑬𝑫 𝑺𝑲𝑰𝑭𝑭 - 𝟏𝟖𝟓𝟎 - 𝑳𝒖𝒎𝒊𝒏𝒊𝒔𝒎 (𝑯𝒖𝒅𝒔𝒐𝒏 𝑹𝒊𝒗𝒆𝒓 𝑺𝒄𝒉𝒐𝒐𝒍) - 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎 - 𝑳𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 - 𝑶𝒊𝒍 𝒐𝒏 𝒄𝒂𝒓𝒅𝒃𝒐𝒂𝒓𝒅 - 𝑯𝒊-𝑹𝒆𝒔 𝑫𝒊𝒈𝒊𝒕𝒂𝒍𝒍𝒚 𝑹𝒆𝒎𝒂𝒔𝒕𝒆𝒓𝒆𝒅 𝑽𝒆𝒓𝒔𝒊𝒐𝒏 ------------------------------------------------------------------- 𝑭𝒓𝒆𝒅𝒆𝒓𝒊𝒄 𝑬𝒅𝒘𝒊𝒏 𝑪𝒉𝒖𝒓𝒄𝒉'𝒔 "𝑨𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝑺𝒌𝒊𝒇𝒇" (𝟏𝟖𝟓𝟎): 𝑨 𝑻𝒂𝒍𝒆 𝒐𝒇 𝑻𝒓𝒂𝒏𝒒𝒖𝒊𝒍 𝑫𝒆𝒔𝒐𝒍𝒂𝒕𝒊𝒐𝒏 --- 𝑰𝒏 𝒕𝒉𝒆 𝒔𝒖𝒎𝒎𝒆𝒓 𝒐𝒇 𝟏𝟖𝟓𝟎, 𝑭𝒓𝒆𝒅𝒆𝒓𝒊𝒄 𝑬𝒅𝒘𝒊𝒏 𝑪𝒉𝒖𝒓𝒄𝒉 𝒆𝒎𝒃𝒂𝒓𝒌𝒆𝒅 𝒐𝒏 𝒂 𝒋𝒐𝒖𝒓𝒏𝒆𝒚 𝒕𝒐 𝑴𝒐𝒖𝒏𝒕 𝑫𝒆𝒔𝒆𝒓𝒕 𝑰𝒔𝒍𝒂𝒏𝒅, 𝒂 𝒔𝒆𝒄𝒍𝒖𝒅𝒆𝒅 𝒉𝒂𝒗𝒆𝒏 𝒐𝒇𝒇 𝒕𝒉𝒆 𝑨𝒕𝒍𝒂𝒏𝒕𝒊𝒄 𝒄𝒐𝒂𝒔𝒕 𝒐𝒇 𝑴𝒂𝒊𝒏𝒆. 𝑻𝒉𝒊𝒔 𝒆𝒙𝒑𝒆𝒅𝒊𝒕𝒊𝒐𝒏, 𝒂𝒘𝒂𝒚 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒃𝒖𝒓𝒈𝒆𝒐𝒏𝒊𝒏𝒈 𝒎𝒂𝒔𝒔 𝒕𝒐𝒖𝒓𝒊𝒔𝒎, 𝒘𝒐𝒖𝒍𝒅 𝒊𝒏𝒔𝒑𝒊𝒓𝒆 𝒐𝒏𝒆 𝒐𝒇 𝑪𝒉𝒖𝒓𝒄𝒉'𝒔 𝒄𝒂𝒑𝒕𝒊𝒗𝒂𝒕𝒊𝒏𝒈 𝒘𝒐𝒓𝒌𝒔, "𝑨𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝑺𝒌𝒊𝒇𝒇," 𝒂𝒏 𝒐𝒊𝒍 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒐𝒏 𝒄𝒂𝒓𝒅𝒃𝒐𝒂𝒓𝒅 𝒕𝒉𝒂𝒕 𝒖𝒏𝒗𝒆𝒊𝒍𝒔 𝒂 𝒑𝒐𝒊𝒈𝒏𝒂𝒏𝒕 𝒏𝒂𝒓𝒓𝒂𝒕𝒊𝒗𝒆 𝒂𝒈𝒂𝒊𝒏𝒔𝒕 𝒕𝒉𝒆 𝒎𝒊𝒔𝒕𝒚 𝒃𝒂𝒄𝒌𝒅𝒓𝒐𝒑 𝒐𝒇 𝒕𝒉𝒆 𝒊𝒔𝒍𝒂𝒏𝒅. 𝑨𝒔 𝑪𝒉𝒖𝒓𝒄𝒉 𝒗𝒆𝒏𝒕𝒖𝒓𝒆𝒅 𝒐𝒗𝒆𝒓𝒍𝒂𝒏𝒅 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝑽𝒆𝒓𝒎𝒐𝒏𝒕 𝒂𝒏𝒅 𝑵𝒆𝒘 𝑯𝒂𝒎𝒑𝒔𝒉𝒊𝒓𝒆, 𝒕𝒓𝒂𝒗𝒆𝒓𝒔𝒊𝒏𝒈 𝒃𝒚 𝒕𝒓𝒂𝒊𝒏, 𝒔𝒕𝒆𝒂𝒎𝒆𝒓, 𝒂𝒏𝒅 𝒔𝒄𝒉𝒐𝒐𝒏𝒆𝒓, 𝒉𝒆 𝒂𝒓𝒓𝒊𝒗𝒆𝒅 𝒂𝒕 𝑴𝒐𝒖𝒏𝒕 𝑫𝒆𝒔𝒆𝒓𝒕 𝑰𝒔𝒍𝒂𝒏𝒅, 𝒂 𝒓𝒆𝒂𝒍𝒎 𝒇𝒓𝒆𝒒𝒖𝒆𝒏𝒕𝒆𝒅 𝒃𝒚 𝒂𝒓𝒕𝒊𝒔𝒕𝒔 𝒔𝒆𝒆𝒌𝒊𝒏𝒈 𝒔𝒐𝒍𝒂𝒄𝒆 𝒊𝒏 𝒊𝒕𝒔 𝒏𝒂𝒕𝒖𝒓𝒂𝒍 𝒃𝒆𝒂𝒖𝒕𝒚. 𝑫𝒖𝒓𝒊𝒏𝒈 𝒉𝒊𝒔 𝒔𝒐𝒋𝒐𝒖𝒓𝒏, 𝑪𝒉𝒖𝒓𝒄𝒉 𝒊𝒎𝒎𝒆𝒓𝒔𝒆𝒅 𝒉𝒊𝒎𝒔𝒆𝒍𝒇 𝒊𝒏 𝒕𝒉𝒆 𝒄𝒐𝒂𝒔𝒕𝒂𝒍 𝒔𝒖𝒓𝒓𝒐𝒖𝒏𝒅𝒊𝒏𝒈𝒔, 𝒄𝒓𝒆𝒂𝒕𝒊𝒏𝒈 𝒏𝒖𝒎𝒆𝒓𝒐𝒖𝒔 𝒅𝒓𝒂𝒘𝒊𝒏𝒈𝒔 𝒂𝒏𝒅 𝒐𝒊𝒍 𝒔𝒌𝒆𝒕𝒄𝒉𝒆𝒔. "𝑨𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝑺𝒌𝒊𝒇𝒇" 𝒆𝒎𝒆𝒓𝒈𝒆𝒅 𝒂𝒔 𝒂 𝒑𝒐𝒆𝒕𝒊𝒄 𝒕𝒆𝒔𝒕𝒂𝒎𝒆𝒏𝒕 𝒕𝒐 𝒉𝒊𝒔 𝒅𝒊𝒓𝒆𝒄𝒕 𝒐𝒃𝒔𝒆𝒓𝒗𝒂𝒕𝒊𝒐𝒏𝒔 𝒅𝒖𝒓𝒊𝒏𝒈 𝒇𝒐𝒈-𝒍𝒂𝒅𝒆𝒏 𝒎𝒐𝒓𝒏𝒊𝒏𝒈𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒊𝒔𝒍𝒂𝒏𝒅. 𝑻𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒖𝒏𝒇𝒐𝒍𝒅𝒔 𝒘𝒊𝒕𝒉 𝒎𝒆𝒕𝒊𝒄𝒖𝒍𝒐𝒖𝒔 𝒅𝒆𝒕𝒂𝒊𝒍, 𝒄𝒂𝒔𝒕𝒊𝒏𝒈 𝒂 𝒔𝒎𝒂𝒍𝒍 𝒃𝒐𝒂𝒕 𝒊𝒏𝒕𝒐 𝒂 𝒓𝒐𝒍𝒆 𝒐𝒇 𝒄𝒐𝒍𝒐𝒔𝒔𝒂𝒍 𝒔𝒊𝒈𝒏𝒊𝒇𝒊𝒄𝒂𝒏𝒄𝒆 𝒂𝒔 𝒊𝒕 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒆𝒔 𝒕𝒉𝒆 𝒇𝒐𝒓𝒆𝒈𝒓𝒐𝒖𝒏𝒅. 𝑰𝒏 𝒕𝒉𝒆 𝒎𝒊𝒔𝒕𝒚 𝒉𝒐𝒓𝒊𝒛𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒃𝒂𝒄𝒌𝒈𝒓𝒐𝒖𝒏𝒅, 𝒕𝒘𝒐 𝒄𝒐𝒖𝒑𝒍𝒆𝒔 𝒍𝒆𝒊𝒔𝒖𝒓𝒆𝒍𝒚 𝒆𝒏𝒋𝒐𝒚 𝒂 𝒃𝒐𝒂𝒕 𝒓𝒊𝒅𝒆. 𝑪𝒉𝒖𝒓𝒄𝒉 𝒍𝒊𝒌𝒆𝒍𝒚 𝒅𝒓𝒆𝒘 𝒊𝒏𝒔𝒑𝒊𝒓𝒂𝒕𝒊𝒐𝒏 𝒇𝒓𝒐𝒎 𝒉𝒊𝒔 𝒎𝒆𝒏𝒕𝒐𝒓 𝑻𝒉𝒐𝒎𝒂𝒔 𝑪𝒐𝒍𝒆'𝒔 𝒆𝒂𝒓𝒍𝒊𝒆𝒓 𝒔𝒌𝒆𝒕𝒄𝒉𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑴𝒂𝒊𝒏𝒆 𝒄𝒐𝒂𝒔𝒕, 𝒔𝒉𝒐𝒘𝒄𝒂𝒔𝒊𝒏𝒈 𝒉𝒊𝒔 𝒍𝒊𝒏𝒆𝒂𝒈𝒆 𝒘𝒊𝒕𝒉𝒊𝒏 𝒕𝒉𝒆 𝑯𝒖𝒅𝒔𝒐𝒏 𝑹𝒊𝒗𝒆𝒓 𝑺𝒄𝒉𝒐𝒐𝒍. 𝑻𝒉𝒆 𝒘𝒐𝒓𝒌 𝒂𝒍𝒔𝒐 𝒆𝒄𝒉𝒐𝒆𝒔 𝒕𝒉𝒆 𝒂𝒅𝒎𝒊𝒓𝒂𝒕𝒊𝒐𝒏 𝒔𝒉𝒂𝒓𝒆𝒅 𝒘𝒊𝒕𝒉 𝑭𝒊𝒕𝒛 𝑯𝒆𝒏𝒓𝒚 𝑳𝒂𝒏𝒆 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒍𝒊𝒈𝒉𝒕-𝒅𝒊𝒇𝒇𝒖𝒔𝒆𝒅 𝒂𝒕𝒎𝒐𝒔𝒑𝒉𝒆𝒓𝒆 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒇𝒓𝒆𝒒𝒖𝒆𝒏𝒕 𝒎𝒊𝒔𝒕𝒔 𝒕𝒉𝒂𝒕 𝒔𝒉𝒓𝒐𝒖𝒅 𝒕𝒉𝒆 𝒊𝒔𝒍𝒂𝒏𝒅, 𝒆𝒏𝒉𝒂𝒏𝒄𝒊𝒏𝒈 𝒕𝒉𝒆 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒂𝒍𝒍𝒖𝒓𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒍𝒂𝒄𝒆. "𝑨𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝑺𝒌𝒊𝒇𝒇" 𝒊𝒔 𝒎𝒐𝒓𝒆 𝒕𝒉𝒂𝒏 𝒂 𝒎𝒆𝒓𝒆 𝒅𝒆𝒑𝒊𝒄𝒕𝒊𝒐𝒏 𝒐𝒇 𝒂 𝒄𝒐𝒂𝒔𝒕𝒂𝒍 𝒔𝒄𝒆𝒏𝒆; 𝒊𝒕 𝒉𝒂𝒓𝒃𝒐𝒓𝒔 𝒂𝒏 𝒊𝒎𝒑𝒍𝒊𝒆𝒅 𝒏𝒂𝒓𝒓𝒂𝒕𝒊𝒗𝒆, 𝒔𝒖𝒈𝒈𝒆𝒔𝒕𝒊𝒏𝒈 𝒂 𝒎𝒆𝒕𝒂𝒑𝒉𝒐𝒓 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒉𝒖𝒎𝒂𝒏 𝒄𝒐𝒏𝒅𝒊𝒕𝒊𝒐𝒏. 𝑻𝒉𝒆 𝒕𝒊𝒕𝒖𝒍𝒂𝒓 𝒔𝒌𝒊𝒇𝒇, 𝒍𝒆𝒇𝒕 𝒂𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝒐𝒏 𝒕𝒉𝒆 𝒔𝒉𝒐𝒓𝒆, 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒂 𝒔𝒚𝒎𝒃𝒐𝒍, 𝒂 𝒗𝒆𝒔𝒔𝒆𝒍 𝒗𝒐𝒊𝒅 𝒐𝒇 𝒑𝒖𝒓𝒑𝒐𝒔𝒆, 𝒆𝒎𝒃𝒐𝒅𝒚𝒊𝒏𝒈 𝒕𝒉𝒆 𝒋𝒐𝒖𝒓𝒏𝒆𝒚 𝒐𝒇 𝒍𝒊𝒇𝒆. 𝑱𝒐𝒉𝒏 𝑾𝒊𝒍𝒎𝒆𝒓𝒅𝒊𝒏𝒈 𝒅𝒆𝒍𝒗𝒆𝒔 𝒊𝒏𝒕𝒐 𝒕𝒉𝒆 𝒎𝒆𝒕𝒂𝒑𝒉𝒐𝒓𝒊𝒄𝒂𝒍 𝒓𝒊𝒄𝒉𝒏𝒆𝒔𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒂𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝒔𝒌𝒊𝒇𝒇, 𝒉𝒊𝒈𝒉𝒍𝒊𝒈𝒉𝒕𝒊𝒏𝒈 𝒊𝒕𝒔 𝒄𝒂𝒑𝒂𝒄𝒊𝒕𝒚 𝒕𝒐 𝒓𝒆𝒔𝒐𝒏𝒂𝒕𝒆 𝒘𝒊𝒕𝒉 𝒗𝒊𝒆𝒘𝒆𝒓𝒔 𝒂𝒔 𝒂 𝒑𝒐𝒊𝒈𝒏𝒂𝒏𝒕 𝒓𝒆𝒇𝒍𝒆𝒄𝒕𝒊𝒐𝒏 𝒐𝒏 𝒕𝒉𝒆 𝒕𝒓𝒂𝒏𝒔𝒊𝒆𝒏𝒕 𝒏𝒂𝒕𝒖𝒓𝒆 𝒐𝒇 𝒆𝒙𝒊𝒔𝒕𝒆𝒏𝒄𝒆. 𝑲𝒂𝒕𝒉𝒆𝒓𝒊𝒏𝒆 𝑬. 𝑴𝒂𝒏𝒕𝒉𝒐𝒓𝒏𝒆 𝒅𝒓𝒂𝒘𝒔 𝒄𝒐𝒏𝒏𝒆𝒄𝒕𝒊𝒐𝒏𝒔 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝑪𝒉𝒖𝒓𝒄𝒉'𝒔 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒂𝒏𝒅 𝑯𝒆𝒓𝒎𝒂𝒏 𝑴𝒆𝒍𝒗𝒊𝒍𝒍𝒆'𝒔 "𝑴𝒐𝒃𝒚 𝑫𝒊𝒄𝒌," 𝒑𝒖𝒃𝒍𝒊𝒔𝒉𝒆𝒅 𝒊𝒏 𝟏𝟖𝟓𝟏. 𝑻𝒉𝒆 𝒏𝒐𝒗𝒆𝒍, 𝒅𝒆𝒍𝒗𝒊𝒏𝒈 𝒊𝒏𝒕𝒐 𝒕𝒉𝒆 𝒘𝒐𝒓𝒍𝒅 𝒐𝒇 𝑵𝒆𝒘 𝑬𝒏𝒈𝒍𝒂𝒏𝒅 𝒘𝒉𝒂𝒍𝒆𝒓𝒔, 𝒂𝒍𝒊𝒈𝒏𝒔 𝒘𝒊𝒕𝒉 𝑪𝒉𝒖𝒓𝒄𝒉'𝒔 𝒕𝒉𝒆𝒎𝒂𝒕𝒊𝒄 𝒓𝒆𝒔𝒐𝒏𝒂𝒏𝒄𝒆, 𝒊𝒏𝒅𝒊𝒄𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒂𝒓𝒕𝒊𝒔𝒕'𝒔 𝒂𝒕𝒕𝒖𝒏𝒆𝒎𝒆𝒏𝒕 𝒕𝒐 𝒕𝒉𝒆 𝒑𝒖𝒃𝒍𝒊𝒄'𝒔 𝒊𝒏𝒕𝒆𝒓𝒆𝒔𝒕𝒔. 𝑻𝒉𝒆 𝒔𝒆𝒂, 𝒘𝒊𝒕𝒉 𝒊𝒕𝒔 𝒎𝒊𝒔𝒕 𝒂𝒏𝒅 𝒎𝒚𝒔𝒕𝒆𝒓𝒊𝒐𝒖𝒔 𝒂𝒍𝒍𝒖𝒓𝒆, 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒂 𝒔𝒕𝒂𝒈𝒆 𝒇𝒐𝒓 𝒂 𝒏𝒂𝒓𝒓𝒂𝒕𝒊𝒗𝒆 𝒕𝒉𝒂𝒕 𝒕𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒔 𝒕𝒉𝒆 𝒎𝒆𝒓𝒆 𝒗𝒊𝒔𝒖𝒂𝒍 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒂 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆. 𝑼𝒑𝒐𝒏 𝒓𝒆𝒕𝒖𝒓𝒏𝒊𝒏𝒈 𝒕𝒐 𝑵𝒆𝒘 𝒀𝒐𝒓𝒌, 𝑪𝒉𝒖𝒓𝒄𝒉 𝒆𝒙𝒉𝒊𝒃𝒊𝒕𝒆𝒅 "𝑨𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝑺𝒌𝒊𝒇𝒇" 𝒂𝒕 𝒑𝒓𝒆𝒔𝒕𝒊𝒈𝒊𝒐𝒖𝒔 𝒗𝒆𝒏𝒖𝒆𝒔 𝒍𝒊𝒌𝒆 𝒕𝒉𝒆 𝑵𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝑨𝒄𝒂𝒅𝒆𝒎𝒚 𝒐𝒇 𝑫𝒆𝒔𝒊𝒈𝒏, 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝑨𝒓𝒕-𝑼𝒏𝒊𝒐𝒏, 𝒂𝒏𝒅 𝒕𝒉𝒆 𝑷𝒆𝒏𝒏𝒔𝒚𝒍𝒗𝒂𝒏𝒊𝒂 𝑨𝒄𝒂𝒅𝒆𝒎𝒚 𝒐𝒇 𝑭𝒊𝒏𝒆 𝑨𝒓𝒕𝒔. 𝑻𝒉𝒆 𝑵𝒆𝒘 𝒀𝒐𝒓𝒌 𝑫𝒂𝒊𝒍𝒚 𝑻𝒓𝒊𝒃𝒖𝒏𝒆 𝒑𝒓𝒂𝒊𝒔𝒆𝒅 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈'𝒔 𝒑𝒂𝒓𝒕𝒊𝒄𝒖𝒍𝒂𝒓 𝒔𝒖𝒄𝒄𝒆𝒔𝒔, 𝒔𝒊𝒏𝒈𝒍𝒊𝒏𝒈 𝒐𝒖𝒕 𝒊𝒕𝒔 𝒑𝒐𝒓𝒕𝒓𝒂𝒚𝒂𝒍 𝒐𝒇 "𝒂𝒏 𝒐𝒍𝒅 𝒃𝒐𝒂𝒕 𝒉𝒊𝒈𝒉 𝒖𝒑𝒐𝒏 𝒕𝒉𝒆 𝒔𝒉𝒐𝒓𝒆, 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒇𝒐𝒈 𝒔𝒕𝒆𝒂𝒍𝒊𝒏𝒈 𝒊𝒏 𝒐𝒗𝒆𝒓 𝒕𝒉𝒆 𝒔𝒆𝒂." 𝑪𝒉𝒖𝒓𝒄𝒉'𝒔 𝒔𝒌𝒊𝒍𝒍𝒇𝒖𝒍 𝒓𝒆𝒏𝒅𝒆𝒓𝒊𝒏𝒈 𝒐𝒇 𝒕𝒓𝒂𝒏𝒒𝒖𝒊𝒍𝒊𝒕𝒚 𝒂𝒏𝒅 𝒅𝒆𝒔𝒐𝒍𝒂𝒕𝒊𝒐𝒏 𝒊𝒏 "𝑨𝒃𝒂𝒏𝒅𝒐𝒏𝒆𝒅 𝑺𝒌𝒊𝒇𝒇" 𝒓𝒆𝒔𝒐𝒏𝒂𝒕𝒆𝒔 𝒂𝒔 𝒂 𝒕𝒆𝒔𝒕𝒂𝒎𝒆𝒏𝒕 𝒕𝒐 𝒕𝒉𝒆 𝒂𝒓𝒕𝒊𝒔𝒕'𝒔 𝒂𝒃𝒊𝒍𝒊𝒕𝒚 𝒕𝒐 𝒄𝒂𝒑𝒕𝒖𝒓𝒆 𝒏𝒐𝒕 𝒋𝒖𝒔𝒕 𝒕𝒉𝒆 𝒑𝒉𝒚𝒔𝒊𝒄𝒂𝒍 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆 𝒃𝒖𝒕 𝒂𝒍𝒔𝒐 𝒕𝒉𝒆 𝒑𝒓𝒐𝒇𝒐𝒖𝒏𝒅 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍 𝒂𝒏𝒅 𝒎𝒆𝒕𝒂𝒑𝒉𝒐𝒓𝒊𝒄 𝒄𝒖𝒓𝒓𝒆𝒏𝒕𝒔 𝒄𝒐𝒖𝒓𝒔𝒊𝒏𝒈 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒉𝒆 𝒉𝒖𝒎𝒂𝒏 𝒆𝒙𝒑𝒆𝒓𝒊𝒆𝒏𝒄𝒆.