36:
322:
189:
227:
246:
208:
1522:
1513:
179:
offered "possibilities of form and color not available to in the dark suits of
Philadelphia businessmen." Adams speculated that Eakins decided to paint clerical portraits because he was intrigued by "the sexually ambiguous quality of priestly clothes", and "the way that the clergy appeared to cross normal gender boundaries", though later biographers such as Kirkpatrick have dismissed this interpretation.
175:." Furthermore, most of these portraits were gifts, not commissions – initiated at Eakins's request and completed at his own expense. These gifts were not always well received by their recipients, either: Dr. Patrick J. Garvey hid his under his bed, and the portraits of Mother Mary Patricia Waldron and Bishop Edmond Prendergast were lost, presumed destroyed.
269:
305:, Elder's secretary and future successor, heard of Eakins's clerical portraits from Henry Turner, a colleague at St. Charles Borromeo Seminary, and decided to commission a portrait in honor of his superior. Having accepted the commission, Eakins departed Philadelphia for Cincinnati by train on November 25, 1903; Moeller paid his travel expenses.
360:
It is unsurprising then that these themes come to the forefront in his portrait of Elder, the oldest of Eakins's clerical subjects. While Eakins did not exaggerate his sitter's age in this case, he uses that heavy emphasis on an Elder's aged features as a way of exploring his psychology, rather than
178:
Kirkpatrick suggests that Eakins respected the clerics as intellectuals despite not seeing eye-to-eye with them on spiritual matters – several were accomplished scholars. Eakins may also have appreciated their lack of worldly pretense, a trait which he shared. Schendler wrote that priestly vestments
404:
In what would become a famous incident, Eakins appeared at the formal award ceremony in his bicycling outfit – a raggedy sweater and short trousers. He was heard to tell Coates, who had since risen to the rank of academy president, "I think you've got a heap of impudence to give me a medal." After
392:
Despite the academy's acclaim, Eakins was still bitter over having been forced to resign from the
Academy 18 years prior. A controversial teacher, Eakins had incited the ire of the school administration by breaking various Academy policies, such as having students pose in the nude for himself and
308:
This was the farthest that Eakins travelled to paint a portrait; most of his subjects were local to
Philadelphia. It was also unusual among his clerical portraits in that it was a commission from a stranger, rather than a gift for someone he had come to know personally. Eakins worked quickly – on
290:
he rose to prominence by refusing to follow an order given by occupying Union forces to include prayers for the
President in local Catholic services – a stand for which he was briefly jailed. He further distinguished himself during a yellow fever epidemic in 1878, when he caught the disease while
356:
Here, as elsewhere in his work, Eakins "did not hesitate to show a sitter as frankly old." Themes of aging and mortality were "as characteristic of portraiture as costumes and setting were of the portraiture of his contemporaries." Indeed, these themes were so central to Eakins's conception of
416:
In early 1904, the portrait was presented to Elder after being shown at the academy. It received a more mixed reception there, as Bishop
Moeller reported in a letter to Eakins: "...some who have seen the picture do not like the Archbishop's expression, but that was not your fault. You gave the
361:
the objective reality of his appearance. "Archbishop Elder's seeming awareness of his own mortality is one of the painting's strongest notes," Schendler writes, "The meditative quality of the portrait is associated with the impression of physical frailty."
282:
The oldest of the clerics who sat for Eakins, the 84-year-old Elder was near the end of a long and distinguished career in the church. Born in
Baltimore in 1819, he was ordained a priest in 1846. In 1857 he was appointed Bishop of Natchez, Mississippi.
389:. Critics acclaimed it as "quite extraordinary in its cold, deliberate analysis of a human personality," and the awards committee wrote that "...it may be doubted that has ever been given for a more solid and substantial piece of painting."
393:
each other. This came to a head when he was formally reprimanded for removing a loincloth from a male model in front of female students. Further accusations of sexual impropriety – such as a private demonstration of "pelvic motions" to
166:
While the genesis of the series is clear enough, Eakins's motivations are less readily apparent. A lifelong agnostic who was outspokenly critical of
Christianity in general – and Catholicism in particular – Eakins debated
147:
In the final decade of his active career (c. 1900–1910), Thomas Eakins painted a series of portraits of
Catholic clergy. In all over a dozen clergy sat for Eakins, more than any other single profession.
357:
portraiture as an art form that he once asked a sitter if he could portray him as older than he truly was, writing that he wished "to do a fine piece of work as a work of art and not a likeness."
121:
clergy Eakins undertook late in his career. In this psychologically probing portrait, Eakins depicts the stoic Elder, frail but still imposing at 84, confronting his own mortality.
226:
1263:
353:. The wood–paneled room behind him is left indistinct, and his vestments are depicted in little detail, putting the emphasis on Elder's gnarled hands and weathered features.
188:
245:
984:
421:
207:
409:, where he had the gold medal melted down for cash value. Returning home, he laid the $ 73 he had received from the mint on the table in front of his wife
342:
The resulting portrait, executed in oil on a 168.1 cm Ă— 114.7 cm canvas, is "a stunning painting, but not because it flatters the
Archbishop."
364:
Both in its composition and in its psychologically penetrating depiction of an aging but still imposing cleric, the portrait of Elder is comparable to
159:
was only about two miles from Eakins's home, the two chose it as a destination for their Sunday bicycle excursions, often staying for late afternoon
1559:
1525:
1304:
155:, a former student and close companion. Murray was a staunch Catholic with strong ties to the Philadelphia Irish-American Catholic community. As
298:
as the
Archbishop of Cincinnati. A capable administrator, Elder soon reorganized the diocese administration and brought it out of debt.
1202:
132:. Eakins famously had the medal melted down out of spite, bitter over his forced resignation from the Academy 18 years beforehand.
1114:
1014:
373:. In sum, it is considered a "magnificent, emotionally captivating" portrayal of "an extraordinary man facing inexorable time."
1516:
1051:
420:
Elder died in October 1904, and after his death the portrait remained the property of the Archdiocese, passing down from one
1544:
1431:
1297:
913:
35:
1194:
809:
382:
129:
1564:
1082:
217:
171:
with Monsignor James P. Turner, who later sat for him, and would "smile superciliously whenever someone spoke of
1290:
1037:
949:
891:
869:
850:
828:
790:
437:
321:
1218:
1043:
979:
965:
616:
156:
1445:
1210:
1466:
1007:
330:
255:
172:
1459:
1234:
1074:
1067:
385:
Harrison Morris solicited it for their annual exhibition. There it won top honors and was awarded the
1554:
1490:
152:
111:
1549:
1452:
335:
236:
1495:
1363:
1252:
1154:
1000:
410:
369:
1313:
1146:
1130:
879:
425:
136:
82:
398:
310:
295:
8:
1500:
1404:
1258:
313:
that he'd finished Elder's portrait in one week. "I think it one of my best," he added.
277:
114:
20:
1394:
1368:
1186:
1138:
1098:
1090:
901:
287:
74:
168.1 cm Ă— 114.7 cm (66 3/16 in Ă— 45 3/16 in)
365:
325:
1473:
1332:
1327:
1106:
945:
928:
909:
887:
865:
846:
824:
805:
786:
406:
386:
125:
103:
1414:
1162:
1122:
1059:
394:
302:
118:
1409:
1399:
1178:
838:
19:
This article is about the painting by Eakins. For the archbishop depicted, see
1538:
1384:
1023:
973:
932:
621:
in the online catalog of the Cincinnati Art Museum. Retrieved 11 August 2022.
198:
107:
46:
1358:
1342:
100:
64:
1337:
1271:
168:
1282:
124:
The painting, which Eakins considered "one of my best", was awarded the
1389:
86:
1075:
William Rush Carving His Allegorical Figure of the Schuylkill River
821:
Man Made: Thomas Eakins and the construction of Gilded Age manhood
1170:
417:
Archbishop the expression he had while you were doing the work."
350:
346:
160:
992:
800:
Amnéus, Cynthia; Forth, Ron; Hisey, Scott; et al. (2008).
381:
Within two weeks of the portrait's completion, director of the
397:– soon surfaced against Eakins, and chairman of instruction
345:
Elder is depicted seated in a frontal pose, wearing a black
272:
Elder earlier in life, as the Bishop of Natchez, Mississippi
405:
receiving his award he immediately left by bicycle for the
268:
151:
The series came about through Eakins's relationship with
783:
Eakins Revealed: the secret life of an American artist
309:
December 15 he wrote to his friend and former student
799:
845:. Vol. 2. Cambridge: Harvard University Press.
970:in the online catalog of the Cincinnati Art Museum
727:
725:
688:
686:
684:
591:
589:
587:
585:
413:, proclaiming "Sue, here's my Temple Gold Medal."
598:
535:
533:
531:
503:
501:
1536:
674:
672:
734:
722:
713:
704:
695:
681:
582:
575:
573:
571:
569:
567:
565:
563:
542:
528:
519:
510:
498:
477:
1298:
1008:
669:
662:
660:
551:
424:to the next. In 1978 it was purchased by the
944:. Philadelphia: Philadelphia Museum of Art.
823:. Berkeley: University of California Press.
802:Cincinnati Art Museum: Collection Highlights
752:
641:
639:
629:
627:
560:
878:
491:
489:
376:
1305:
1291:
1015:
1001:
657:
450:
1312:
922:
864:. Princeton: Princeton University Press.
862:Thomas Eakins: The Heroism of Modern Life
761:
648:
636:
624:
135:It is currently in the collection of the
1203:The Thinker: Portrait of Louis N. Kenton
837:
743:
486:
468:
459:
401:asked for and received his resignation.
320:
267:
1560:Collection of the Cincinnati Art Museum
900:
1537:
1052:Portrait of Professor Benjamin H. Rand
939:
818:
612:
610:
1286:
996:
942:Thomas Eakins: Artist of Philadelphia
927:. Boston: Little, Brown and Company.
859:
785:. New York: Oxford University Press.
780:
183:Selected clerical portraits by Eakins
1512:
1115:The Artist's Wife and His Setter Dog
886:. New Haven: Yale University Press.
1432:The Duchess of Montesquiou-Fezensac
978:in the National Portrait Gallery's
906:Portrait: The life of Thomas Eakins
607:
13:
117:, one of a series of portraits of
14:
1576:
1195:Portrait of Mary Adeline Williams
1022:
959:
383:Pennsylvania Academy of Fine Arts
130:Pennsylvania Academy of Fine Arts
1521:
1520:
1511:
244:
225:
206:
187:
34:
1083:The Fairman Rogers Four-in-Hand
218:Princeton University Art Museum
1439:Archbishop William Henry Elder
1227:Archbishop William Henry Elder
986:Archbishop William Henry Elder
975:Archbishop William Henry Elder
967:Archbishop William Henry Elder
618:Archbishop William Henry Elder
438:List of works by Thomas Eakins
195:Sebastiano Cardinal Martinelli
139:, which purchased it in 1978.
96:Archbishop William Henry Elder
29:Archbishop William Henry Elder
1:
1044:Max Schmitt in a Single Scull
980:Catalog of American Portraits
774:
157:St. Charles Borromeo Seminary
142:
1446:Undergrowth with Two Figures
1264:Conservation-restoration of
1211:Portrait of Leslie W. Miller
884:The Revenge of Thomas Eakins
443:
428:, where it remains in 2024.
7:
431:
334:, oil on canvas, c. 1650.
331:Portrait of Pope Innocent X
316:
256:Nelson-Atkins Museum of Art
233:Archbishop Diomede Falconio
214:Monsignor James F. Loughlin
10:
1581:
1545:Portraits by Thomas Eakins
1460:Portrait of a Dutch Family
1235:William Rush and His Model
989:on Google Arts and Culture
923:Schendler, Sylvan (1967).
908:. New York: W. W. Norton.
819:Berger, Martin A. (2000).
275:
263:
18:
1509:
1491:Art Academy of Cincinnati
1483:
1423:
1377:
1351:
1320:
1245:
1030:
860:Johns, Elizabeth (1991).
291:ministering to the sick.
252:Monsignor James P. Turner
78:
70:
60:
52:
42:
33:
28:
16:Painting by Thomas Eakins
422:Archbishop of Cincinnati
377:Reception and provenance
294:In 1883 Elder succeeded
112:Archbishop of Cincinnati
106:by the American artist
1565:Oil on canvas paintings
1453:Daughters of Revolution
940:Sewell, Darrel (1982).
349:with a violet sash and
336:Galleria Doria Pamphilj
237:National Gallery of Art
1364:Gustave Von Groschwitz
1253:Susan Macdowell Eakins
370:Portrait of Innocent X
339:
273:
1314:Cincinnati Art Museum
1147:Portrait of Maud Cook
1131:Miss Amelia Van Buren
781:Adams, Henry (2005).
426:Cincinnati Art Museum
324:
271:
137:Cincinnati Art Museum
83:Cincinnati Art Museum
296:John Baptist Purcell
163:service and dinner.
1501:Cincinnati Art Club
1405:Melville E. Ingalls
1259:Thomas Eakins House
902:McFeely, William S.
880:Kirkpatrick, Sidney
278:William Henry Elder
115:William Henry Elder
21:William Henry Elder
1467:Samson and Delilah
1395:Reuben R. Springer
1369:Lewis Henry Meakin
1139:The Concert Singer
1091:The Writing Master
340:
274:
1532:
1531:
1474:Sibyl and Prophet
1333:Joseph Henry Gest
1328:Alfred T. Goshorn
1280:
1279:
1107:The Swimming Hole
1068:The Chess Players
804:. London: Giles.
604:Amnéus et al. 133
407:Philadelphia Mint
387:Temple Gold Medal
239:, Washington D.C.
169:Christ's divinity
126:Temple Gold Medal
92:
91:
1572:
1555:Portraits of men
1524:
1523:
1515:
1514:
1415:Joseph Longworth
1307:
1300:
1293:
1284:
1283:
1266:The Gross Clinic
1163:Taking the Count
1123:The Agnew Clinic
1060:The Gross Clinic
1017:
1010:
1003:
994:
993:
955:
936:
919:
897:
875:
856:
834:
815:
796:
768:
765:
759:
756:
750:
747:
741:
738:
732:
729:
720:
717:
711:
708:
702:
699:
693:
690:
679:
676:
667:
664:
655:
652:
646:
643:
634:
631:
622:
614:
605:
602:
596:
593:
580:
577:
558:
555:
549:
546:
540:
537:
526:
523:
517:
514:
508:
505:
496:
493:
484:
481:
475:
472:
466:
463:
457:
454:
395:Amelia Van Buren
303:Henry K. Moeller
248:
229:
210:
191:
38:
26:
25:
1580:
1579:
1575:
1574:
1573:
1571:
1570:
1569:
1535:
1534:
1533:
1528:
1505:
1479:
1419:
1373:
1347:
1316:
1311:
1281:
1276:
1241:
1026:
1021:
962:
952:
916:
894:
872:
853:
839:Goodrich, Lloyd
831:
812:
793:
777:
772:
771:
766:
762:
757:
753:
748:
744:
740:Kirkpatrick 323
739:
735:
731:Kirkpatrick 313
730:
723:
719:Kirkpatrick 321
718:
714:
710:Kirkpatrick 311
709:
705:
701:Kirkpatrick 300
700:
696:
692:Kirkpatrick 477
691:
682:
677:
670:
665:
658:
653:
649:
644:
637:
632:
625:
615:
608:
603:
599:
595:Kirkpatrick 476
594:
583:
578:
561:
556:
552:
548:Kirkpatrick 471
547:
543:
539:Kirkpatrick 475
538:
529:
525:Kirkpatrick 474
524:
520:
516:Kirkpatrick 473
515:
511:
507:Kirkpatrick 470
506:
499:
494:
487:
483:Kirkpatrick 472
482:
478:
473:
469:
464:
460:
455:
451:
446:
434:
379:
326:Diego Velázquez
319:
311:Frank W. Stokes
301:In 1903 Bishop
280:
266:
259:
249:
240:
230:
221:
211:
202:
192:
145:
24:
17:
12:
11:
5:
1578:
1568:
1567:
1562:
1557:
1552:
1550:1903 paintings
1547:
1530:
1529:
1510:
1507:
1506:
1504:
1503:
1498:
1493:
1487:
1485:
1481:
1480:
1478:
1477:
1470:
1463:
1456:
1449:
1442:
1435:
1427:
1425:
1421:
1420:
1418:
1417:
1412:
1410:Louise Nippert
1407:
1402:
1400:Lois Rosenthal
1397:
1392:
1387:
1381:
1379:
1375:
1374:
1372:
1371:
1366:
1361:
1355:
1353:
1349:
1348:
1346:
1345:
1340:
1335:
1330:
1324:
1322:
1318:
1317:
1310:
1309:
1302:
1295:
1287:
1278:
1277:
1275:
1274:
1269:
1261:
1256:
1249:
1247:
1243:
1242:
1240:
1239:
1231:
1223:
1215:
1207:
1199:
1191:
1183:
1179:Between Rounds
1175:
1167:
1159:
1151:
1143:
1135:
1127:
1119:
1118:(c. 1884–1889)
1111:
1103:
1095:
1087:
1079:
1071:
1064:
1056:
1048:
1040:
1034:
1032:
1028:
1027:
1020:
1019:
1012:
1005:
997:
991:
990:
982:
971:
961:
960:External links
958:
957:
956:
950:
937:
920:
915:978-0393050653
914:
898:
892:
876:
870:
857:
851:
835:
829:
816:
810:
797:
791:
776:
773:
770:
769:
760:
751:
742:
733:
721:
712:
703:
694:
680:
668:
656:
647:
635:
623:
606:
597:
581:
559:
550:
541:
527:
518:
509:
497:
485:
476:
467:
458:
448:
447:
445:
442:
441:
440:
433:
430:
378:
375:
318:
315:
276:Main article:
265:
262:
261:
260:
250:
243:
241:
231:
224:
222:
212:
205:
203:
193:
186:
184:
144:
141:
110:depicting the
90:
89:
80:
76:
75:
72:
68:
67:
62:
58:
57:
54:
50:
49:
44:
40:
39:
31:
30:
15:
9:
6:
4:
3:
2:
1577:
1566:
1563:
1561:
1558:
1556:
1553:
1551:
1548:
1546:
1543:
1542:
1540:
1527:
1518:
1508:
1502:
1499:
1497:
1494:
1492:
1489:
1488:
1486:
1482:
1476:
1475:
1471:
1469:
1468:
1464:
1462:
1461:
1457:
1455:
1454:
1450:
1448:
1447:
1443:
1441:
1440:
1436:
1434:
1433:
1429:
1428:
1426:
1422:
1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1386:
1385:John J. Emery
1383:
1382:
1380:
1376:
1370:
1367:
1365:
1362:
1360:
1357:
1356:
1354:
1350:
1344:
1341:
1339:
1336:
1334:
1331:
1329:
1326:
1325:
1323:
1319:
1315:
1308:
1303:
1301:
1296:
1294:
1289:
1288:
1285:
1273:
1270:
1268:
1267:
1262:
1260:
1257:
1254:
1251:
1250:
1248:
1244:
1237:
1236:
1232:
1229:
1228:
1224:
1221:
1220:
1219:Self-portrait
1216:
1213:
1212:
1208:
1205:
1204:
1200:
1197:
1196:
1192:
1189:
1188:
1184:
1181:
1180:
1176:
1173:
1172:
1168:
1165:
1164:
1160:
1157:
1156:
1152:
1149:
1148:
1144:
1141:
1140:
1136:
1133:
1132:
1128:
1125:
1124:
1120:
1117:
1116:
1112:
1109:
1108:
1104:
1101:
1100:
1096:
1093:
1092:
1088:
1085:
1084:
1080:
1077:
1076:
1072:
1070:
1069:
1065:
1062:
1061:
1057:
1054:
1053:
1049:
1046:
1045:
1041:
1039:
1038:List of works
1036:
1035:
1033:
1029:
1025:
1024:Thomas Eakins
1018:
1013:
1011:
1006:
1004:
999:
998:
995:
988:
987:
983:
981:
977:
976:
972:
969:
968:
964:
963:
953:
947:
943:
938:
934:
930:
926:
921:
917:
911:
907:
903:
899:
895:
889:
885:
881:
877:
873:
867:
863:
858:
854:
848:
844:
843:Thomas Eakins
840:
836:
832:
826:
822:
817:
813:
811:9781904832539
807:
803:
798:
794:
788:
784:
779:
778:
764:
755:
746:
737:
728:
726:
716:
707:
698:
689:
687:
685:
678:Schendler 208
675:
673:
663:
661:
651:
642:
640:
630:
628:
620:
619:
613:
611:
601:
592:
590:
588:
586:
576:
574:
572:
570:
568:
566:
564:
557:Schendler 197
554:
545:
536:
534:
532:
522:
513:
504:
502:
492:
490:
480:
471:
462:
453:
449:
439:
436:
435:
429:
427:
423:
418:
414:
412:
408:
402:
400:
399:Edward Coates
396:
390:
388:
384:
374:
372:
371:
367:
362:
358:
354:
352:
348:
343:
337:
333:
332:
327:
323:
314:
312:
306:
304:
299:
297:
292:
289:
284:
279:
270:
258:, Kansas City
257:
253:
247:
242:
238:
234:
228:
223:
219:
215:
209:
204:
201:, Los Angeles
200:
199:Hammer Museum
196:
190:
185:
182:
181:
180:
176:
174:
170:
164:
162:
158:
154:
153:Samuel Murray
149:
140:
138:
133:
131:
127:
122:
120:
116:
113:
109:
108:Thomas Eakins
105:
102:
98:
97:
88:
84:
81:
77:
73:
69:
66:
65:Oil on canvas
63:
59:
55:
51:
48:
47:Thomas Eakins
45:
41:
37:
32:
27:
22:
1472:
1465:
1458:
1451:
1444:
1438:
1437:
1430:
1359:Grace Morley
1343:Aaron Betsky
1265:
1233:
1226:
1225:
1217:
1209:
1201:
1198:(1899, 1900)
1193:
1185:
1177:
1169:
1161:
1153:
1145:
1137:
1129:
1121:
1113:
1105:
1097:
1089:
1081:
1073:
1066:
1058:
1050:
1042:
985:
974:
966:
941:
924:
905:
883:
861:
842:
820:
801:
782:
763:
758:Goodrich 201
754:
745:
736:
715:
706:
697:
650:
617:
600:
579:Goodrich 191
553:
544:
521:
512:
479:
470:
461:
452:
419:
415:
411:Susan Eakins
403:
391:
380:
368:
363:
359:
355:
344:
341:
329:
307:
300:
293:
285:
281:
251:
232:
213:
194:
177:
165:
150:
146:
134:
123:
95:
94:
93:
1378:Benefactors
1338:Timothy Rub
1272:Eakins Oval
1155:The Pianist
1086:(1879–1880)
456:McFeely 179
366:Velázquez's
286:During the
254:, c. 1906,
220:, Princeton
197:, 1901–02,
173:future life
1539:Categories
1424:Collection
1390:Mary Emery
951:0876330472
893:0300108559
871:0691002886
852:0674884906
830:0520222091
792:0195156684
775:References
666:Sewell 105
143:Background
99:is a 1903
87:Cincinnati
71:Dimensions
1496:Eden Park
1321:Directors
1187:Wrestlers
1031:Paintings
933:247937283
767:Adams 409
654:Johns 165
645:Johns 163
633:Johns 148
495:Adams 376
474:Adams 375
465:Adams 374
444:Citations
288:Civil War
1526:Category
1352:Curators
904:(2007).
882:(2006).
841:(1982).
749:Adams 60
432:See also
317:Analysis
235:, 1905,
216:, 1902,
119:Catholic
104:portrait
79:Location
1517:Commons
1484:Related
1246:Related
1171:Salutat
1099:Arcadia
351:biretta
347:cassock
264:Subject
161:vespers
128:by the
1255:(wife)
1238:(1908)
1230:(1903)
1222:(1902)
1214:(1901)
1206:(1900)
1190:(1899)
1182:(1899)
1174:(1898)
1166:(1898)
1158:(1896)
1150:(1895)
1142:(1892)
1134:(1891)
1126:(1889)
1110:(1885)
1102:(1883)
1094:(1882)
1078:(1876)
1063:(1875)
1055:(1874)
1047:(1871)
948:
931:
925:Eakins
912:
890:
868:
849:
827:
808:
789:
338:, Rome
61:Medium
43:Artist
946:ISBN
929:OCLC
910:ISBN
888:ISBN
866:ISBN
847:ISBN
825:ISBN
806:ISBN
787:ISBN
56:1903
53:Year
101:oil
1541::
1519:*
724:^
683:^
671:^
659:^
638:^
626:^
609:^
584:^
562:^
530:^
500:^
488:^
328:,
85:,
1306:e
1299:t
1292:v
1016:e
1009:t
1002:v
954:.
935:.
918:.
896:.
874:.
855:.
833:.
814:.
795:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.