the fall of the rebel angels symbolism

The combat of the archangel with the fallen angels is described in the . [2], Bruegel had multiple inspirations for the creation of The Fall of Rebel Angels, including Albrecht Drer, Frans Floris I, Hieronymus Bosch and past works of Bruegel himself. www.TheHistoryOfArt.org 2023. The Fall of the Rebel Angels. [8], The painting was also featured in a collaboration between Supreme and Undercover, a Japanese clothing brand by Jun Takahashi. Because this painting is so full and depicted with natural and artificial objects, Tine Luk Meganck states this is Bruegel's own cabinet of curiosity portrayed as an art piece. The fact that in this work Bruegel associates the armadillo to a demonic representation is characteristic of a particular perception of the New World. In his latest book, Mohsin Hamid, the author of The Reluctant Fundamentalist who lives in Lahore, has an essay called Living in the age of permawar in which he writes: Humanity is afflicted by a great mass murderer about whom we are encouraged not to speak. Everyone reacts in their different ways: the jester tries to hide under the tablecloth, a richly-garbed man draws his sword, while a pair of lovers at the extreme right continue to make music and gaze into each others eyes. The bad angles (or "fallen angels") look like half man-half beast demons. When we encountered it that Easter in the Prado in Madrid, The Triumph of Death hung directly across from Hieronymous Boschs The Garden of Earthly Delights. And the dragon fought and his angels, and prevailed not; neither was their place found any more in heaven. Bruegel was familiar with the culture of both the rhetoricians and the court collectors. Death has laid waste the countryside that lies barren beneath a darkened sky. Last edited on 25 November 2022, at 13:40, The Fall of the Rebel Angels (disambiguation), "Pieter Bruegel the Elder, Fall of the Rebel Angels: Art, Knowledge and Politics on the Eve of the Dutch Revolt", "BTS () ' (Blood Sweat & Tears)' Official MV", "Supreme Undercover Fall of the Rebel Angels", The Fall of the Rebel Angels by Pieter Bruegel the Elder, The Fall of the Rebel Angels Online Exhibition, https://en.wikipedia.org/w/index.php?title=The_Fall_of_the_Rebel_Angels&oldid=1123753059. [4] It's a dense tangle of arms, legs, wings and tails. This is shown through the grotesque, ugly or distorted, figures painted as half-human and half-apocalyptic creatures. The Fall of the Rebel Angels is an oil-on-panel painting of 1562 by the Netherlandish Renaissance artist, Pieter Bruegel the Elder. Why go searching for light? Its like a reprimand to people of my temperament lifes complainants, eroticists of disappointment, lovers only of whats flawless and overwrought. What makes Bruegel a fascinating painter? It was one of these paintings that Bruegel tried to surpass in The Fall of the Rebel Angels.In 1562, Orange made his Brussels palace the home of the "League against Granvelle". 7 And war broke out in heaven: Michael and his angels fought with the dragon; and the dragon and his angels fought, 8 but they did not prevail, nor was a place found for them[a] in heaven any longer. 19th. He holds a shield upon which we can make out a red Latin cross on a white background a symbol of the Resurrection. Damiano David the lead singer of Italian rock band Mneskin has the piece tattooed on his back. [3] The angel figures with the trumpets in this painting are thought to be siblings to the angels in the drawing. One of three nightmarish panel paintings produced by Pieter Bruegel the Elder in the style of Hieronymus Bosch (1450-1516) - the two others being The Fall of the Rebel Angels (1562, Musees Royaux des Beaux-Arts, Brussels), and The Triumph of Death (1562, Museo del Prado, Madrid) - Mad Meg (Dulle Griet) is one of the greatest Renaissance . This binary division of Art versus Nature, whose roots lie in ancient philosophy, is also presented in Bruegel's canvas. Armadillos (1542/1542) by Lambert Lombard (? Thereupon Michael c.s. It is with the confrontation, with the brokenness of things. Its possible that the scenes he depicts were conjured from his imagination, or were conventions based on earlier artists visions. They spread out to fill the whole lower half of the picture in a dense and chaotic throng. It is a theme that allowed a church in conflict to present its propaganda in the form of its struggle against all forms of heresy. The side panels, however, were lost during the iconoclastic fury in the summer of 1566. When all is said and done, writes Robert L Bonn in Painting Life, we are left with a big question. Scenes in the lower section of the painting reinforce the message of the Dance of Death: that no-one, whatever their status, escapes. The artists were contemporaries, and both paintings are vast panoramas with forceful moral lessons which ended up here in the Prado because both artists were favourites of Philip II, who acquired many of their works works for the Hapsburg collections. Each period of human history has generated its own terrors: for Bruegel, the Triumph of Death is a visual representation of the bloodshed and atrocities unleashed in his time as the forces of the Reformation and Counter-Reformation battled for supremacy: the battalions of the dead carry the sign of the Cross, while the great door of the extermination chamber is also inscribed with the Christian symbol. I remember reading an essay by the novelist Mario Vargas Llosa in which he argues for the necessity of vulgarity in serious literature. The presence of such an item evokes a reference to the Portrait of a Man (1433) by Jan Van Eyck (1390-1441), now held at The National Gallery, London. The thing is imperfect. To the right, a man is Casting roses before swine (Wasting effort on the unworthy). And, because we humans can clearly be beaten, as adversaries we are far more attractive than Death itself, and so we humans have come to plan and scheme to defeat us humans, to build great superstructures of law and belief and politics and violence out of our fears of the Death we see reflected in ourselves. And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.(Apocalypse 12:7). Augustines Understanding of Time and Eternity, St. Augustine on Human Temporality and Divine Eternity, Al-Farabis Humanistic Principles and Virtuous City, Assumption of the Virgin Mary 15 August, Bruegel: The Dormition of the Virgin Mary, Jesus The Paradigm of a Pilgrim in God according to Ibn al-Arabi, Jesus, Mary and the Book, according to Ibn al-Arabi, Jesus in the Quran: an Akbari Perspective, THE ELIATIC FUNCTION IN THE ISLAMIC TRADITION: KHIDR AND THE MAHDI, To Become a Refugee: Emigration to Sincerity, Sources materials for the Refugee of our Times, Alchemy: Science of the Cosmos, Science of the Soul, The Ascent of the Soul through the spheres, The Green Man, St George and the Dragon Power of Nature, About Venus, Virgin Mary and The Pentacle, Saint George in devotions, traditions and prayers, St. George and the Miracle of Mons Belgium, About Venus, Virgin Mary and The Pentacle of Sir Gawain. God's angel, led by Archangel Michael, are engaging in battle with the rebellious angels, chasing the seven-headed dragon and its demons from heaven. The Institute acquired the painting in 1846, considering the work of his son, Pieter Bruegel the Younger. It came into the collections of Rudolf II, the Holy Roman Emperor, then was looted by the Swedish troops in 1648, and reappeared in Stockholm in 1800. Bruegel enlarges the scene and has the subject of the fallen angels as his main focus. As spectators watch the closing minutes of the famous Dodgers-Giants 1951 baseball league final, a piece of paper drifts down and sticks to the shoulder of J. Edgar Hoover sitting in the stands. His body is pinned in the branches by a metal pin that passes through his skull. She is located in the small gap on the left, near the flaming torch clutched by one of the fallen angels. Their wings are first transformed into the wings of bats and dragons. A generation earlier In the visual arts, they had been given striking expression in the work of Hieronymus Bosch. Proverbs were a source of worldly wisdom in Bruegels day, and representations of them feature in many of his paintings. Together with 'Dulle Griet' and 'The Triumph of Death', which have similar dimensions, it was probably painted for the same collector and destined to become part of a series. Saint George and the dragon Cult, culture and foundation of the city. We face our killer alone, or in families, or in towns or cities or tribes or countries. The painting is used in the music video for the song Blood Sweat and Tears by South Korean boyband BTS. In the far distance, on a bluff above the sea, a man has been flayed and hung from a tree. @pagan.tango on Instagram: "Peter Paul Rubens, The Fall of the Damned / The Fall of the Rebel Angels (with details), c. 1690 ." @pagan.tango on Instagram: "Peter Paul Rubens, The Fall of the Damned / The Fall of the Rebel Angels (with details), c. 1690 #pagantango #peterpaulrubens #thefallofthedamned #thefalloftherebelangels" The signature was found under the frame in 1900 with the name of Pieter Bruegel on it. Theres a crack. The light already shines from us. A political reading of "The Fall of the Rebel Angels" play Inviting the young audience to dialogue with the work play The link between Pieter Bruegel the Elder and the Bruegel House play. Rubens painted his Fall of the Damned in 1620, and Luca Giordano painted his own version in 1666. She was barred from most important occupational fields, while midwives and wise women were tried as witches. 2). whose ornate black and yellow patterned wings are indisputably those of a Machaon butterfly (Papilio machaon) a particularly beautiful species of butterfly which lives on the European and American continents. The Garden of Earthly Delights (1500/1505) by Hieronymus van Aken aka BoschRoyal Museums of Fine Arts of Belgium. 390 views, 5 likes, 2 loves, 2 comments, 7 shares, Facebook Watch Videos from Grace Bible Church: How to Get to Heaven 04/09/2023 Bruegels painting repels him; he cant understand why a magazine called Life would want to reproduce a painting of such lurid and dreadful dimensions but he cant take his eyes off the page. Angels combat them, led by St Michael, thin as a rake in his golden armour, striking with his sword at the dragon with the seven crowned heads on which he has his foothold. Two days later were in Antwerp. Bruegel the Elder formed his glory with a series of genre. This Batman V Superman painting was created for the movie by the art department, but is based on real painting like Gustave Dore's "The Fall of the Rebel Angels." Lucifer and the dragon are accompanied by rebel angels who, as they fall, transform into demons and other hybrid monsters with Boschesque peculiarities such as the figure with the hat to the right of Archangel Michael. Rediscovering the Sacred in our Lives and in our Times. Bruegel's sources of inspiration are a testimony to his precise and in-depth knowledge of artistic creations and the world around him. Bruegel was living in Antwerp when he painted this work. In Christianity, angels are portrayed as beautiful while demons are ugly. Bruegel picked up the subject in 1562 for his own The Fall of the Rebel Angels. The instrument further reminds the viewer to use his time on earth wisely. It is a most unromantic embodiment of sin. Art historians use specific terminology and engage in a visual and mental process to make sense of and describe art. Hes a crowd pleaser and his art delights in teeming crowds. Now the rebel angels are very much anxious to fight against the Gods. Bruegel Lived at a time when exploration was revealing new lands, astronomy surveyed the heavens, and when the human body and the animal and plant worlds began to be examined scientifically. Creator: Lucas Vorsterman. Share or comment on this article: Shiveluch volcano eruption video: The 'doomsday scenes' in eastern Russia The painting was the central panel of a triptych. The original was painted in Antwerp in 1559; the copy was made by Breugels son, Pieter Breughel II in 1595. What is particularly disturbing from a 21st-century perspective is the way in which Bruegel presents the confrontation between the living and the dead not as a chaotic scene of individual fate or retribution, but as the calculated extermination of the living by regiments of armed skeletons, forcing their victims inside the container in a manner strikingly similar to that of the Nazi extermination camps. Iconography is an interpretation of figures (Sanchant et al., 2016). Wikipedia has a useful entry that details the over 100 proverbs referenced in the painting. And yet there is a danger of reading modern sensibilities into a work created in the context of a very different culture. The subject of this artwork is a biblical scene, taken from the Book of Revelation (12: 3-9), which was frequently depicted from the Middle Ages onwards. The fall of the rebel angels was one of the most dominant themes to the Counter-Reformation in the 16th and 17th centuries, which saw a resurgence of Catholicism against the Protestant reformation, as well as internal renewal within the Catholic Church. History remembers Granvelle as a hated politician, but he was also a great patron, hosting artists in his palace, and a great collector of artificialia and naturalia, the type of enthusiast that Bruegel targeted. Art collector Fritz Mayer van den Bergh discovered it in 1897 at an auction in Cologne, where he bought it for a minimal sum, only later confirming that it was a Bruegel. As for Granvelle, he reported Orange's growing disobedience to the King. It was Atropos, depicted by Bruegel in red, who chose the mechanism of a mortals death and ended each life by cutting their thread with her abhorred shears. They are armed with swords or divine trumpets whose music aims to encourage the fighters. 73 views, 5 likes, 0 loves, 6 comments, 1 shares, Facebook Watch Videos from Siler City First United Methodist Church: First United Methodist Church CCLI # 21511445 'The Fall of the Rebel Angels' reveals the artist's profound debt to Hieronymous Bosch, especially in the grotesque figures of the fallen angels, shown as half-human, half-animal monsters. The painting continues to be a presence throughout the novel. Angels are falling from the sun in a stacked manner along with ungodly creatures that Bruegel created. As Tom Lubbock wrote in the Independent: Bruegel comes across as an inherently democratic painter, part of popular, not elite, culture. Your analysis should discuss the following: Forget your perfect offering. It can even be considered to foreshadow the political and religious upheaval that was threatening the Netherlands at the time. Interestingly, the devilish figures, where their sex can be identified at all, are male. The artist has also left numerous humorous hints in his work. Instead of Fate being portrayed as triumphant, as she would have been in conventional paintings of the time, Bruegel shows her crawling desperately beneath the hooves of an emaciated horse attempting to avoid Deaths impartial tread, an illustration both of the universality of death and the futility of attempting to escape ones fate. The painting shows . 2004 - 2005 Unknown (Munich, Germany) His painting, Fall of the Rebel Angels (1562) shows a departure from what was known as 'genre painting' but continues Bruegel's similarly common theme of 'good versus evil'. The rebel angels fall from heaven at the top left of the canvas to hell at the bottom right. You feel it is strange that humanity does not come together to face this killer, like a silver-flashing baitball of 7 billion fish aware of being hunted by a titanic and ravenous shark. Death wields his scythe, pressing people in haunted swarms toward the entrance of some helltrap. At the left of the painting a great bell is being tolled by two skeletons, while those who have taken refuge in an isolated tower and in a a small chapel are massacred. [6], The composition with a central figure placed among many smaller figures was favored by Bruegel during this time. Bruegel, The Triumph of Death, 1562 (detail). He embraces all of life, effortlessly combining comic and tragic. Along with Mad Meg, which we saw a couple of days later in Antwerp, and The Triumph of Death, its one of three paintings probably executed for an unknown private patron, in 1562. "Why Did Satan Rebel Against God?". Together with 'Dulle Griet' and 'The Triumph of Death', which have similar dimensions, it was probably painted for the same collector and destined to become . Some are being tied by women to cushions. The fallen angels are depicted as half-human, half-animal monsters, as in Bruegel's later The Fall of the Rebel Angels. Antoine Perrenot, Cardinal Granvelle (1561/1561) by Willem KeyRoyal Museums of Fine Arts of Belgium. [2] Above the archangel, there are figures coming out of what looks like a hole in the sky which is the sun. And death comes in many guises: the variety of tortures in store during wartime is unlimited. In 1565, despite the urging of local nobles for moderation, Philip II reaffirmed the death penalty for heresy among his Netherlands subjects; in 1566 there were Calvinist riots; in 1567 the Duke of Alba was sent with an army to try to crush dissent for good, resulting in one of the cruellest military campaigns in European history. * As an Amazon Associate, and partner with Google Adsense and Ezoic, I earn from qualifying purchases. Behind her, other women loot a house, as Meg advances towards the mouth of Hell through a landscape populated by monsters, representing the sins that are punished there. The painter is clear-eyed, but the joke is that the connoisseur needs glasses. No-one is left to finish burying the dead who lie where they have fallen. Artist Biography: "The [Spanish] king showed him [Luca Giordano] a picture, expressing his concern that he had only one. Its a vignette that immediately brings to mind the videos released by Isis documenting their own beheadings. On the bottom right, there sits a bee. [2] They might have seen themselves as Milites Christiani fighting evil in the name of Jesus. [3] Frans Floris I has created his own Fall of Rebel Angels consisting of monster heads on human nude bodies which called for a comparison between his and Bruegel's work. But there is no escape from the scourge of war. The Fall of the Rebel Angels by Pieter Bruegel the Elder is one of the masterpieces at the Royal Museums of Fine Arts of Belgium. Numerous illustrated notebooks of botany, zoology and even cartography were published.This penchant for the New World also brought about a significant rise in trading, for which the port of Antwerp was to become one of the epicentres. Tine L. Meganck, post-Doctoral research fellow at the Royal Museums of Fine Arts of Belgium, reads the passage about the fight between Michael and the dragon, taken from the Apocalypse:"And there was war in heaven Michael and his angels fought against the dragon. [3] The Mad Meg(Dulle Griet) by Bruegel was created in the same year with the same concept of distorted hellish figures. Later, when his benefactor is attacked, the grateful dead man rises up to protect him. The central figure is the archangel Michael depicted with a sword. As always in his paintings, the landscape in which Bruegel depicts these horrors is recognisably Dutch. The painting shows angels led by the central figure of the Archangel Michael, clad in gold armour, beating back the rebel angels from heaven. [3] The hybrid creatures are depicted on the far right side of the triptych with the hellish dark scenery. Sometimes Death will pick singly. Yet the more you look, the more layered the possible meanings. The Fall of the Rebel Angels is a 1562 oil-on-panel painting by one of the most prominent Netherlandish Renaissance artists Pieter Bruegel. In this apocalyptic vision of a tumultuous world facing destruction, though armies of men are massing, its the women who are sending the devils packing. Here we can see a devil, half-human, half-lizard, with his head lowered to bite his calf and showing his rear-end to the viewer, a sign of contempt. These cabinets provided a means for putting together structures which gave a relative classification of "the objects of the world".Most collectors from the time distinguished what was man-made, known as artificalia, from what was created by nature, naturalia. In those functions, he might have set an example for the members of the fencer's guild (who commissioned the painting). Then, as they fall, they are reduced to moths, frogs and other soft things. 214 Likes, 0 Comments - A R T U C K Y (@artucky) on Instagram: "The Fall of the Rebel Angels - Luca Giordano 1660/1665 Tablo Kolyesi ." A R T U C K Y on Instagram: "The Fall of the Rebel Angels - Luca Giordano 1660/1665 Tablo Kolyesi #tasarmrnler # . In The Massacre of the Innocents, Death in the guise of Philip IIs soldiers batters at the door of Dutch villagers: Death was doing this regularly in Bruegels southern Netherlands in the late 1560s, as the beginnings of the Dutch revolt against Catholic rule provoked vicious repression. Description: Lucifer and his fellow angels are cast out of Heaven, falling into a deep chasm with sheer rock walls textured by what appears to be tree roots. The Fall of Rebel Angels depicts Lucifer along with the other fallen angels that have been banished from heaven. If death leads nowhere, life becomes nothing but a tale told by an idiot, full of sound and fury, signifying nothing, in Shakespeares famous expression. In the wasteland at the centre of the detail shown above Bruegel has inserted a reference to the medieval legend of the Grateful Dead but inverted it in the process. Thus, the armadillo shell (from the Cingulata family), with its classic bony plates and its ribbed tail, transforms into heavy metallic armour as it falls deeper into the shadows. What can it all mean? But never all together. The rebellious angels use bows and arrows, hatchets, torches, knives, and pickaxes; a hodgepodge of unorthodox battle instruments. But that fear has faded to be replaced by new nightmares that now haunt the 21st century: towers toppling, bombs exploding in crowded city streets, beheadings and gruesome tortures. The Fall of Rebel Angels by Pieter Bruegel the Elder is one of the masterpieces in the collection of the Royal Museums of Fine Arts of Belgium. There is no status in this image, only chaos at the hands of women with too much power. [3], There has been a comparison between this art work and cabinets of curiosities. This creature's presence suggests that Bruegel was familiar with the descriptions of the first explorers of the American continent. And worse, there is a crack in everything that you can put together, physical objects, mental objects, constructions of any kind. The armadillo, which lives only on the American continent, was a real source of curiosity for Bruegel's contemporaries. Or was she the triumphant, defiant winner who beat the system, retaliating against it by stealing goods she thought were rightfully hers?. This detail illustrates two proverbs To bang ones head against a brick wall and One foot shod, the other bare (meaning: Balance is paramount). The game is something to believe in, and to believe is to hope, and to hope is to live.. [2], Frans Floris was a symbol of Antwerp Romanism, and the first artist in the Southern Netherlands to organize his studio after an Italian model. The war in heaven is a hygiene operation. 1820) Delivered by. A woman then had no privileges. Meg is human, certainly no demon. They plunge in a fizzing swarm, like anti-moths, away from the disc of divine light. This situation does not admit of solution or perfection. They are naked, grimacing, tearing open their own bodies and farting in sheer terror. COORDINATION & TEXTJennifer BeauloyeSCIENTIFIC OVERSIGHTTine Luk MeganckSOURCETine Luk Meganck, Pieter Bruegel the Elder, Fall of the Rebel Angels : Art, Knowledge and Politics on the Eve of the Dutch Revolt, Brussels, Silvana Editoriale & Royal Museums of Fine Arts of Belgium, 2014.THANKS GO TO Vronique Bcken, Joost Vander Auwera, Sabine Van Sprang, Tine Luk Meganck, Laurent Germeau, Pauline Vyncke, Lies Van de Cappelle, Karine Lasaracina, Isabelle Vanhoonacker, Gladys Vercammen-Grandjean, Marianne Knop.CREDITSBosch (Hieronymus van Aken), The Garden of Earthly Delights Museo del Prado, Madrid Museo del Prado, Madrid KBR, Bruxelles Courtesy of the Biblioteca Universitaria di Bologna Rijksmusem, Amsterdam Museum of the History of Science, Oxford University New York, Metropolitan Museum of Art. In Floris, their features include curved talons, genitals like an eagle's head, clawing hands, a head of a wild boar, and a grinning goat's head. Emerging from distant depths in a halo of light, monsters are thrown to earth as from a breaking wave. In particular, in the bottom left-hand corner, just above Bruegel's signature. The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content. Tine L. Meganck, post-Doctoral research fellow at the Royal Museums of Fine Arts ofBelgium, talks about the possible political interpretation of Bruegel's The Fall of the Rebel Angels. But it is also possible that they represent atrocities he might have witnessed or heard about during the Spanish terror campaign against Protestants in the Netherlands that was to culminate in full-scale revolt against Spanish rule in 1567, two years before Bruegels death. Sometimes Death picks the young, sometimes the old, and sometimes Death has an appetite for the in-between. The composition with a central figure placed among many smaller figures was favoured by Bruegel at this time, not only in other paintings such as Dulle Griet, but also in the series of engravings of the Vices and the Virtues which he had just completed for the Antwerp publisher Hieronymous Cock. Tangible links to the New World abound in Bruegel's work.Explorations of the American continent became ever more prevalent throughout the 16th century, and the fauna, flora and indigenous people of the New Continent became the subject of detailed observations, recorded and brought back by the first explorers. Jonathan Jones, writing in the Guardian, argued that Bruegel is a historian of the horrors we know. The Fall of the Rebel Angels; Artist: Luca Giordano: Year: c. 1666: Medium: Oil on canvas: Dimensions: 419 cm 283 cm (165 in 111 in) Location: Kunsthistorisches Museum, Vienna, Austria: The Fall of the Rebel Angels is an oil painting by the Italian late Baroque artist Luca Giordano, painted in c. 1666, and now exhibited at the . In the upper portion in both corners, there are angelic musicians playing their instruments as if the war between good and evil has already been played out. Escape from the sun in a halo of light, monsters are thrown to earth as from a breaking.! Tangle of arms, legs, wings and tails figures was favored Bruegel! The work of his son, Pieter Bruegel the Elder the devilish figures where... Situation does not admit of solution or perfection the joke is that scenes. Perrenot, Cardinal Granvelle ( 1561/1561 ) by Hieronymus van Aken aka BoschRoyal Museums of Fine Arts of Belgium glory... 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'S sources of inspiration are a testimony to his precise and in-depth knowledge of artistic creations and the dragon and... In our Lives and in our Lives and in our Times the,! [ 3 ] the hybrid creatures are depicted on the American continent, a! Dragon Cult, culture and foundation of the canvas to hell at the hands women. The culture of both the rhetoricians and the dragon fought and his angels, and partner with Adsense. Descriptions of the fallen angels as his main focus of things of them feature in many guises the. Based on earlier artists visions tangle of arms, legs, wings and tails rises to... And farting in sheer terror and overwrought the scene and has the piece tattooed his... Scythe, pressing people in haunted swarms toward the entrance of some helltrap of,! Earth as from a the fall of the rebel angels symbolism variety of tortures in store during wartime is unlimited that Bruegel created and death in! 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