F. E. CHURCH Niagara Falls, from the American Side Canvas Print

----------------------------------------------------------------------------------𝑭𝒓𝒆𝒅𝒆𝒓𝒊𝒄 𝑬𝒅𝒘𝒊𝒏 𝑪𝒉𝒖𝒓𝒄𝒉 (𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏, 𝟏𝟖𝟐𝟔-𝟏𝟗𝟎𝟎) - 𝑵𝒊𝒂𝒈𝒂𝒓𝒂 𝑭𝒂𝒍𝒍𝒔, 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝑺𝒊𝒅𝒆 -𝟏𝟖𝟔𝟕 - 𝑳𝒖𝒎𝒊𝒏𝒊𝒔𝒎 (𝑯𝒖𝒅𝒔𝒐𝒏 𝑹𝒊𝒗𝒆𝒓 𝑺𝒄𝒉𝒐𝒐𝒍) - 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎 - 𝑳𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 - 𝑶𝒊𝒍 𝒐𝒏 𝒄𝒂𝒏𝒗𝒂𝒔 - 𝑯𝒊-𝑹𝒆𝒔 𝑫𝒊𝒈𝒊𝒕𝒂𝒍𝒍𝒚 𝑹𝒆𝒎𝒂𝒔𝒕𝒆𝒓𝒆𝒅 𝑽𝒆𝒓𝒔𝒊𝒐𝒏 ---------------------------------𝓝𝓲𝓪𝓰𝓪𝓻𝓪 𝓕𝓪𝓵𝓵𝓼, 𝓯𝓻𝓸𝓶 𝓽𝓱𝓮 𝓐𝓶𝓮𝓻𝓲𝓬𝓪𝓷 𝓢𝓲𝓭𝓮 (𝟏𝟖𝟔𝟕): 𝓐 𝓢𝔂𝓶𝓹𝓱𝓸𝓷𝔂 𝓸𝓯 𝓝𝓪𝓽𝓾𝓻𝓮’𝓼 𝓖𝓻𝓪𝓷𝓭𝓮𝓾𝓻--- 𝑰𝒏 𝒕𝒉𝒆 𝒉𝒂𝒍𝒍𝒐𝒘𝒆𝒅 𝒉𝒂𝒍𝒍𝒔 𝒐𝒇 𝒂𝒓𝒕𝒊𝒔𝒕𝒓𝒚, 𝒘𝒉𝒆𝒓𝒆 𝒄𝒂𝒏𝒗𝒂𝒔 𝒎𝒆𝒆𝒕𝒔 𝒔𝒐𝒖𝒍, 𝑭𝒓𝒆𝒅𝒆𝒓𝒊𝒄 𝑬𝒅𝒘𝒊𝒏 𝑪𝒉𝒖𝒓𝒄𝒉 𝒊𝒎𝒎𝒐𝒓𝒕𝒂𝒍𝒊𝒛𝒆𝒅 𝒂 𝒎𝒐𝒎𝒆𝒏𝒕 𝒐𝒇 𝒂𝒘𝒆 𝒂𝒏𝒅 𝒘𝒐𝒏𝒅𝒆𝒓. 𝑯𝒊𝒔 𝒎𝒂𝒈𝒏𝒖𝒎 𝒐𝒑𝒖𝒔, “𝑵𝒊𝒂𝒈𝒂𝒓𝒂 𝑭𝒂𝒍𝒍𝒔, 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝑺𝒊𝒅𝒆,” 𝒄𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒅 𝒊𝒏 𝟏𝟖𝟔𝟕, 𝒕𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒔 𝒎𝒆𝒓𝒆 𝒑𝒂𝒊𝒏𝒕 𝒂𝒏𝒅 𝒃𝒓𝒖𝒔𝒉; 𝒊𝒕 𝒊𝒔 𝒂 𝒔𝒚𝒎𝒑𝒉𝒐𝒏𝒚 𝒐𝒇 𝒆𝒍𝒆𝒎𝒆𝒏𝒕𝒔 𝒕𝒉𝒂𝒕 𝒄𝒐𝒏𝒗𝒆𝒓𝒈𝒆 𝒕𝒐 𝒆𝒗𝒐𝒌𝒆 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒔 𝒕𝒉𝒂𝒕 𝒅𝒆𝒇𝒚 𝒕𝒉𝒆 𝒐𝒓𝒅𝒊𝒏𝒂𝒓𝒚. 𝑻𝒉𝒆 𝒄𝒂𝒏𝒗𝒂𝒔 𝒖𝒏𝒇𝒖𝒓𝒍𝒔 𝒂 𝒏𝒂𝒓𝒓𝒂𝒕𝒊𝒗𝒆—𝒂 𝒕𝒂𝒍𝒆 𝒘𝒉𝒊𝒔𝒑𝒆𝒓𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒘𝒂𝒕𝒆𝒓𝒔 𝒕𝒉𝒆𝒎𝒔𝒆𝒍𝒗𝒆𝒔. 𝑾𝒆 𝒔𝒕𝒂𝒏𝒅 𝒐𝒏 𝒕𝒉𝒆 𝒆𝒂𝒔𝒕 𝒔𝒊𝒅𝒆 𝒐𝒇 𝑵𝒊𝒂𝒈𝒂𝒓𝒂 𝑭𝒂𝒍𝒍𝒔, 𝒘𝒉𝒆𝒓𝒆 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒗𝒊𝒔𝒕𝒂 𝒖𝒏𝒇𝒐𝒍𝒅𝒔. 𝑯𝒆𝒓𝒆, 𝒕𝒉𝒆 𝒘𝒐𝒓𝒍𝒅 𝒅𝒊𝒔𝒔𝒐𝒍𝒗𝒆𝒔 𝒊𝒏𝒕𝒐 𝒎𝒊𝒔𝒕 𝒂𝒏𝒅 𝒔𝒑𝒓𝒂𝒚, 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒗𝒆𝒓𝒚 𝒂𝒊𝒓 𝒗𝒊𝒃𝒓𝒂𝒕𝒆𝒔 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒓𝒐𝒂𝒓 𝒐𝒇 𝒄𝒂𝒔𝒄𝒂𝒅𝒊𝒏𝒈 𝒘𝒂𝒕𝒆𝒓𝒔. 𝑬𝒗𝒆𝒓𝒚 𝒃𝒓𝒖𝒔𝒉𝒔𝒕𝒓𝒐𝒌𝒆 𝒃𝒓𝒆𝒂𝒕𝒉𝒆𝒔 𝒍𝒊𝒇𝒆 𝒊𝒏𝒕𝒐 𝒕𝒉𝒊𝒔 𝒏𝒂𝒕𝒖𝒓𝒂𝒍 𝒎𝒂𝒓𝒗𝒆𝒍, 𝒓𝒆𝒏𝒅𝒆𝒓𝒊𝒏𝒈 𝒊𝒕 𝒏𝒐𝒕 𝒂𝒔 𝒂 𝒔𝒕𝒂𝒕𝒊𝒄 𝒔𝒄𝒆𝒏𝒆 𝒃𝒖𝒕 𝒂𝒔 𝒂𝒏 𝒆𝒏𝒕𝒊𝒕𝒚 𝒑𝒖𝒍𝒔𝒂𝒕𝒊𝒏𝒈 𝒘𝒊𝒕𝒉 𝒆𝒏𝒆𝒓𝒈𝒚. 𝑨𝒏𝒅 𝒕𝒉𝒆𝒓𝒆, 𝒊𝒏 𝒕𝒉𝒆 𝒍𝒐𝒘𝒆𝒓 𝒓𝒊𝒈𝒉𝒕 𝒄𝒐𝒓𝒏𝒆𝒓, 𝒂 𝒓𝒂𝒊𝒏𝒃𝒐𝒘 𝒈𝒓𝒂𝒄𝒆𝒔 𝒕𝒉𝒊𝒔 𝒅𝒚𝒏𝒂𝒎𝒊𝒄 𝒕𝒂𝒃𝒍𝒆𝒂𝒖. 𝑰𝒕𝒔 𝒆𝒕𝒉𝒆𝒓𝒆𝒂𝒍 𝒃𝒆𝒂𝒖𝒕𝒚 𝒅𝒂𝒏𝒄𝒆𝒔 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒓𝒂𝒘 𝒑𝒐𝒘𝒆𝒓 𝒐𝒇 𝒕𝒉𝒆 𝒇𝒂𝒍𝒍𝒔—𝒂 𝒃𝒓𝒊𝒅𝒈𝒆 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒓𝒆𝒂𝒍𝒎𝒔, 𝒆𝒑𝒉𝒆𝒎𝒆𝒓𝒂𝒍 𝒚𝒆𝒕 𝒆𝒕𝒆𝒓𝒏𝒂𝒍. 𝑻𝒉𝒊𝒔 𝒓𝒂𝒊𝒏𝒃𝒐𝒘 𝒆𝒄𝒉𝒐𝒆𝒔 𝒕𝒉𝒆𝒎𝒆𝒔 𝒄𝒆𝒏𝒕𝒓𝒂𝒍 𝒕𝒐 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎: 𝒕𝒓𝒂𝒏𝒔𝒊𝒆𝒏𝒕 𝒚𝒆𝒕 𝒕𝒊𝒎𝒆𝒍𝒆𝒔𝒔 𝒃𝒆𝒂𝒖𝒕𝒚, 𝒂 𝒇𝒍𝒆𝒆𝒕𝒊𝒏𝒈 𝒈𝒍𝒊𝒎𝒑𝒔𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆. 𝑪𝒉𝒖𝒓𝒄𝒉 𝒘𝒂𝒔 𝒏𝒐𝒕 𝒎𝒆𝒓𝒆𝒍𝒚 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈 𝒂 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆; 𝒉𝒆 𝒘𝒂𝒔 𝒏𝒂𝒓𝒓𝒂𝒕𝒊𝒏𝒈 𝒂𝒏 𝒆𝒙𝒑𝒆𝒓𝒊𝒆𝒏𝒄𝒆. 𝑯𝒊𝒔 𝒂𝒇𝒇𝒊𝒍𝒊𝒂𝒕𝒊𝒐𝒏 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝑯𝒖𝒅𝒔𝒐𝒏 𝑹𝒊𝒗𝒆𝒓 𝑺𝒄𝒉𝒐𝒐𝒍 𝒊𝒏𝒇𝒖𝒔𝒆𝒅 𝒉𝒊𝒔 𝒂𝒓𝒕 𝒘𝒊𝒕𝒉 𝒓𝒆𝒗𝒆𝒓𝒆𝒏𝒄𝒆 𝒇𝒐𝒓 𝒏𝒂𝒕𝒖𝒓𝒆’𝒔 𝒎𝒂𝒋𝒆𝒔𝒕𝒚. 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎 𝒄𝒐𝒖𝒓𝒔𝒆𝒅 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒉𝒊𝒔 𝒗𝒆𝒊𝒏𝒔, 𝒗𝒂𝒍𝒊𝒅𝒂𝒕𝒊𝒏𝒈 𝒊𝒏𝒕𝒆𝒏𝒔𝒆 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒔—𝒕𝒉𝒆 𝒂𝒘𝒆 𝒕𝒉𝒂𝒕 𝒔𝒘𝒆𝒍𝒍𝒔 𝒘𝒉𝒆𝒏 𝒄𝒐𝒏𝒇𝒓𝒐𝒏𝒕𝒊𝒏𝒈 𝒖𝒏𝒕𝒂𝒎𝒆𝒅 𝒏𝒂𝒕𝒖𝒓𝒆’𝒔 𝒔𝒖𝒃𝒍𝒊𝒎𝒊𝒕𝒚. 𝑻𝒉𝒆 𝒄𝒂𝒏𝒗𝒂𝒔 𝒅𝒆𝒇𝒊𝒆𝒔 𝒄𝒐𝒏𝒗𝒆𝒏𝒕𝒊𝒐𝒏. 𝑰𝒕𝒔 𝒅𝒊𝒎𝒆𝒏𝒔𝒊𝒐𝒏𝒔 𝒔𝒕𝒓𝒆𝒕𝒄𝒉 𝒘𝒊𝒅𝒆, 𝒆𝒎𝒑𝒉𝒂𝒔𝒊𝒛𝒊𝒏𝒈 𝒕𝒉𝒆 𝒑𝒂𝒏𝒐𝒓𝒂𝒎𝒊𝒄 𝒆𝒇𝒇𝒆𝒄𝒕. 𝑪𝒉𝒖𝒓𝒄𝒉’𝒔 𝒃𝒓𝒖𝒔𝒉 𝒅𝒂𝒏𝒄𝒆𝒔 𝒂𝒄𝒓𝒐𝒔𝒔 𝒕𝒉𝒊𝒔 𝒆𝒙𝒑𝒂𝒏𝒔𝒊𝒗𝒆 𝒔𝒕𝒂𝒈𝒆, 𝒆𝒂𝒄𝒉 𝒔𝒕𝒓𝒐𝒌𝒆 𝒂 𝒗𝒆𝒓𝒔𝒆 𝒊𝒏 𝒂 𝒗𝒊𝒔𝒖𝒂𝒍 𝒑𝒐𝒆𝒎. 𝑯𝒆 𝒅𝒓𝒂𝒘𝒔 𝒇𝒓𝒐𝒎 𝒑𝒓𝒆𝒍𝒊𝒎𝒊𝒏𝒂𝒓𝒚 𝒔𝒌𝒆𝒕𝒄𝒉𝒆𝒔 𝒎𝒂𝒅𝒆 𝒂𝒕 𝑵𝒊𝒂𝒈𝒂𝒓𝒂 𝑭𝒂𝒍𝒍𝒔, 𝒊𝒏𝒔𝒑𝒊𝒓𝒆𝒅 𝒃𝒚 𝒔𝒆𝒑𝒊𝒂 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉𝒔. 𝑯𝒊𝒔 𝒂𝒓𝒕 𝒊𝒔𝒏’𝒕 𝒂 𝒎𝒆𝒓𝒆 𝒓𝒆𝒇𝒍𝒆𝒄𝒕𝒊𝒐𝒏; 𝒊𝒕’𝒔 𝒂𝒏 𝒆𝒄𝒉𝒐 𝒐𝒇 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍 𝒓𝒆𝒔𝒐𝒏𝒂𝒏𝒄𝒆. 𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎, 𝒚𝒐𝒖 𝒔𝒆𝒆, 𝒘𝒂𝒔𝒏’𝒕 𝒂𝒃𝒐𝒖𝒕 𝒑𝒂𝒔𝒔𝒊𝒗𝒆 𝒐𝒃𝒔𝒆𝒓𝒗𝒂𝒕𝒊𝒐𝒏. 𝑰𝒕 𝒘𝒂𝒔 𝒂 𝒋𝒐𝒖𝒓𝒏𝒆𝒚—𝒂𝒏 𝒆𝒙𝒑𝒍𝒐𝒓𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆. 𝑬𝒅𝒎𝒖𝒏𝒅 𝑩𝒖𝒓𝒌𝒆’𝒔 𝒅𝒆𝒇𝒊𝒏𝒊𝒕𝒊𝒐𝒏 𝒓𝒆𝒔𝒐𝒏𝒂𝒕𝒆𝒔 𝒉𝒆𝒓𝒆: 𝒕𝒉𝒆 𝒔𝒕𝒓𝒐𝒏𝒈𝒆𝒔𝒕 𝒆𝒎𝒐𝒕𝒊𝒐𝒏 𝒐𝒏𝒆 𝒄𝒂𝒏 𝒇𝒆𝒆𝒍. 𝑨𝒏𝒅 𝒔𝒐, 𝒘𝒆 𝒔𝒕𝒂𝒏𝒅 𝒃𝒆𝒇𝒐𝒓𝒆 𝒏𝒂𝒕𝒖𝒓𝒆’𝒔 𝒅𝒓𝒂𝒎𝒂, 𝒊𝒕𝒔 𝒔𝒄𝒂𝒍𝒆 𝒃𝒐𝒕𝒉 𝒈𝒓𝒂𝒏𝒅 𝒂𝒏𝒅 𝒊𝒏𝒕𝒊𝒎𝒂𝒕𝒆. 𝑪𝒉𝒖𝒓𝒄𝒉’𝒔 𝒇𝒊𝒓𝒔𝒕 𝒆𝒏𝒄𝒐𝒖𝒏𝒕𝒆𝒓 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒇𝒂𝒍𝒍𝒔 𝒘𝒂𝒔 𝒊𝒏 𝟏𝟖𝟓𝟕. 𝑷𝒆𝒏𝒄𝒊𝒍 𝒂𝒏𝒅 𝒐𝒊𝒍 𝒔𝒌𝒆𝒕𝒄𝒉𝒆𝒔 𝒇𝒍𝒐𝒘𝒆𝒅 𝒇𝒓𝒐𝒎 𝒉𝒊𝒔 𝒉𝒂𝒏𝒅𝒔, 𝒄𝒂𝒑𝒕𝒖𝒓𝒊𝒏𝒈 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒕 𝒗𝒊𝒆𝒘𝒑𝒐𝒊𝒏𝒕𝒔. 𝑬𝒂𝒄𝒉 𝒗𝒊𝒔𝒊𝒕 𝒆𝒏𝒓𝒊𝒄𝒉𝒆𝒅 𝒉𝒊𝒔 𝒂𝒓𝒕𝒊𝒔𝒕𝒊𝒄 𝒗𝒐𝒄𝒂𝒃𝒖𝒍𝒂𝒓𝒚, 𝒕𝒓𝒂𝒏𝒔𝒇𝒐𝒓𝒎𝒊𝒏𝒈 𝒆𝒗𝒆𝒓𝒚 𝒔𝒕𝒓𝒐𝒌𝒆 𝒊𝒏𝒕𝒐 𝒆𝒄𝒉𝒐𝒆𝒔 𝒐𝒇 𝒘𝒐𝒏𝒅𝒆𝒓. 𝑻𝒉𝒆 𝒇𝒂𝒍𝒍𝒔 𝒘𝒆𝒓𝒆𝒏’𝒕 𝒋𝒖𝒔𝒕 𝒘𝒂𝒕𝒆𝒓; 𝒕𝒉𝒆𝒚 𝒘𝒆𝒓𝒆 𝒂 𝒈𝒂𝒕𝒆𝒘𝒂𝒚 𝒕𝒐 𝒕𝒉𝒆 𝒊𝒏𝒆𝒇𝒇𝒂𝒃𝒍𝒆. “𝑵𝒊𝒂𝒈𝒂𝒓𝒂 𝑭𝒂𝒍𝒍𝒔, 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝑺𝒊𝒅𝒆” 𝒊𝒔𝒏’𝒕 𝒂 𝒎𝒆𝒓𝒆 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈; 𝒊𝒕’𝒔 𝒑𝒉𝒊𝒍𝒐𝒔𝒐𝒑𝒉𝒚 𝒓𝒆𝒏𝒅𝒆𝒓𝒆𝒅 𝒗𝒊𝒔𝒊𝒃𝒍𝒆. 𝑰𝒕 𝒊𝒏𝒗𝒊𝒕𝒆𝒔 𝒖𝒔 𝒐𝒏 𝒂 𝒋𝒐𝒖𝒓𝒏𝒆𝒚—𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒆𝒓𝒓𝒂𝒊𝒏𝒔 𝒃𝒐𝒕𝒉 𝒆𝒙𝒕𝒆𝒓𝒏𝒂𝒍 𝒂𝒏𝒅 𝒊𝒏𝒕𝒆𝒓𝒏𝒂𝒍. 𝑾𝒆 𝒆𝒙𝒑𝒍𝒐𝒓𝒆 𝒍𝒂𝒏𝒅𝒔𝒄𝒂𝒑𝒆𝒔 𝒔𝒉𝒂𝒑𝒆𝒅 𝒃𝒚 𝒇𝒐𝒓𝒄𝒆𝒔 𝒃𝒐𝒕𝒉 𝒏𝒂𝒕𝒖𝒓𝒂𝒍 𝒂𝒏𝒅 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍. 𝑰𝒏 𝒆𝒗𝒆𝒓𝒚 𝒄𝒂𝒔𝒄𝒂𝒅𝒆 𝒍𝒊𝒆𝒔 𝒂 𝒓𝒆𝒇𝒍𝒆𝒄𝒕𝒊𝒐𝒏 𝒐𝒇 𝒐𝒖𝒓 𝒐𝒘𝒏 𝒂𝒘𝒆, 𝒐𝒖𝒓 𝒐𝒘𝒏 𝒍𝒐𝒏𝒈𝒊𝒏𝒈 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆. 𝑨𝒔 𝒘𝒆 𝒈𝒂𝒛𝒆 𝒖𝒑𝒐𝒏 𝑪𝒉𝒖𝒓𝒄𝒉’𝒔 𝒄𝒂𝒏𝒗𝒂𝒔, 𝒘𝒆 𝒃𝒆𝒄𝒐𝒎𝒆 𝒑𝒂𝒓𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒏𝒂𝒓𝒓𝒂𝒕𝒊𝒗𝒆. 𝑻𝒉𝒆 𝒇𝒂𝒍𝒍𝒔 𝒓𝒐𝒂𝒓, 𝒕𝒉𝒆 𝒓𝒂𝒊𝒏𝒃𝒐𝒘 𝒂𝒓𝒄𝒔, 𝒂𝒏𝒅 𝒐𝒖𝒓 𝒉𝒆𝒂𝒓𝒕𝒔 𝒔𝒘𝒆𝒍𝒍. 𝑻𝒉𝒊𝒔 𝒊𝒔𝒏’𝒕 𝒂𝒓𝒕; 𝒊𝒕’𝒔 𝒕𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆—𝒂 𝒈𝒍𝒊𝒎𝒑𝒔𝒆 𝒊𝒏𝒕𝒐 𝒆𝒕𝒆𝒓𝒏𝒊𝒕𝒚 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒎𝒊𝒔𝒕 𝒂𝒏𝒅 𝒄𝒐𝒍𝒐𝒓. 𝑨𝒏𝒅 𝒍𝒐𝒏𝒈 𝒂𝒇𝒕𝒆𝒓 𝒘𝒆 𝒍𝒐𝒐𝒌 𝒂𝒘𝒂𝒚, 𝒕𝒉𝒆 𝒆𝒄𝒉𝒐𝒆𝒔 𝒓𝒆𝒎𝒂𝒊𝒏. 𝑺𝒐 𝒍𝒆𝒕 𝒖𝒔 𝒍𝒊𝒏𝒈𝒆𝒓 𝒉𝒆𝒓𝒆, 𝒄𝒂𝒖𝒈𝒉𝒕 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒘𝒂𝒕𝒆𝒓 𝒂𝒏𝒅 𝒔𝒌𝒚, 𝒂𝒏𝒅 𝒍𝒊𝒔𝒕𝒆𝒏—𝒕𝒐 𝒕𝒉𝒆 𝒔𝒚𝒎𝒑𝒉𝒐𝒏𝒚 𝒐𝒇 𝑵𝒊𝒂𝒈𝒂𝒓𝒂 𝑭𝒂𝒍𝒍𝒔, 𝒘𝒉𝒆𝒓𝒆 𝒕𝒉𝒆 𝒐𝒓𝒅𝒊𝒏𝒂𝒓𝒚 𝒅𝒊𝒔𝒔𝒐𝒍𝒗𝒆𝒔, 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒔𝒖𝒃𝒍𝒊𝒎𝒆 𝒕𝒂𝒌𝒆𝒔 𝒉𝒐𝒍𝒅.