da casca de ovo
No tempo dos Médici, o mecenato era visto como tecnologia política e o
apoio às artes, à arquitetura, à Igreja e aos intelectuais não era
resultado de simples gosto estético, mas parte de uma estratégia de
construção de autoridade social.
𝓒𝓸𝓻𝓻𝓲𝓪 𝓸 𝓪𝓷𝓸 𝓭𝓮 𝟏𝟒𝟏𝟖 𝓮 𝓪 𝓬𝓲𝓭𝓪𝓭𝓮 𝓭𝓮 𝓕𝓵𝓸𝓻𝓮𝓷𝓬̧𝓪 𝓮𝓼𝓽𝓪𝓿𝓪 𝓷𝓾𝓶 𝓲𝓶𝓹𝓪𝓼𝓼𝓮: 𝓪 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝓬̧𝓪̃𝓸 𝓭𝓪 𝓒𝓪𝓽𝓮𝓭𝓻𝓪𝓵 𝓭𝓮 𝓢𝓪𝓷𝓽𝓪 𝓜𝓪𝓻𝓲𝓪 𝓭𝓮𝓵 𝓕𝓲𝓸𝓻𝓮, 𝓲𝓷𝓲𝓬𝓲𝓪𝓭𝓪 𝓸𝓯𝓲𝓬𝓲𝓪𝓵𝓶𝓮𝓷𝓽𝓮 𝓮𝓶 𝟏𝟐𝟗𝟔 𝓬𝓸𝓶 𝓾𝓶 𝓹𝓻𝓸𝓳𝓮𝓽𝓸 𝓭𝓸 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓸 𝓐𝓻𝓷𝓸𝓵𝓯𝓸 𝓭𝓮 𝓒𝓪𝓶𝓫𝓲𝓸, 𝓷𝓪̃𝓸 𝓪𝓿𝓪𝓷𝓬̧𝓪𝓿𝓪. 𝓕𝓪𝓵𝓽𝓪𝓿𝓪 𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪 𝓺𝓾𝓮, 𝓹𝓮𝓵𝓪 𝓮𝓼𝓬𝓪𝓵𝓪 𝓭𝓸 𝓮𝓭𝓲𝓯𝜾́𝓬𝓲𝓸, 𝓷𝓲𝓷𝓰𝓾𝓮́𝓶 𝓼𝓪𝓫𝓲𝓪 𝓬𝓸𝓶𝓸 𝓻𝓮𝓼𝓸𝓵𝓿𝓮𝓻.
𝓐 “𝓞𝓹𝓮𝓻𝓪 𝓭𝓮𝓵 𝓓𝓾𝓸𝓶𝓸”, 𝓲𝓷𝓼𝓽𝓲𝓽𝓾𝓲𝓬̧𝓪̃𝓸 𝓺𝓾𝓮 𝓯𝓲𝓷𝓪𝓷𝓬𝓲𝓪𝓿𝓪 𝓪𝓼 𝓸𝓫𝓻𝓪𝓼 𝓮 𝓺𝓾𝓮 𝓮𝓻𝓪 𝓪𝓵𝓲𝓶𝓮𝓷𝓽𝓪𝓭𝓪 𝓹𝓮𝓵𝓪 𝓡𝓮𝓹𝓾́𝓫𝓵𝓲𝓬𝓪 𝓭𝓮 𝓕𝓵𝓸𝓻𝓮𝓷𝓬̧𝓪, 𝓹𝓸𝓻 𝓭𝓸𝓪𝓬̧𝓸̃𝓮𝓼 𝓹𝓻𝓸𝓿𝓮𝓷𝓲𝓮𝓷𝓽𝓮𝓼 𝓭𝓮 𝓿𝓪́𝓻𝓲𝓸𝓼 𝓼𝓮𝓽𝓸𝓻𝓮𝓼 𝓭𝓮 𝓪𝓽𝓲𝓿𝓲𝓭𝓪𝓭𝓮 𝓮𝓬𝓸𝓷𝓸́𝓶𝓲𝓬𝓪, 𝓵𝓪𝓷𝓬̧𝓪 𝓾𝓶 𝓬𝓸𝓷𝓬𝓾𝓻𝓼𝓸 𝓹𝓾́𝓫𝓵𝓲𝓬𝓸 𝓹𝓪𝓻𝓪 𝓪 𝓬𝓸𝓷𝓬𝓵𝓾𝓼𝓪̃𝓸 𝓭𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪.
𝓕𝓲𝓵𝓲𝓹𝓹𝓸 𝓑𝓻𝓾𝓷𝓮𝓵𝓵𝓮𝓼𝓬𝓱𝓲 𝓯𝓸𝓲 𝓾𝓶 𝓭𝓸𝓼 𝓹𝓻𝓸𝓹𝓸𝓷𝓮𝓷𝓽𝓮𝓼 𝓭𝓸 𝓬𝓸𝓷𝓬𝓾𝓻𝓼𝓸. 𝓝𝓪𝓽𝓾𝓻𝓪𝓵 𝓭𝓮 𝓕𝓵𝓸𝓻𝓮𝓷𝓬̧𝓪, 𝓬𝓸𝓶𝓮𝓬̧𝓸𝓾 𝓪 𝓼𝓾𝓪 𝓬𝓪𝓻𝓻𝓮𝓲𝓻𝓪 𝓬𝓸𝓶𝓸 𝓸𝓾𝓻𝓲𝓿𝓮𝓼 𝓮 𝓮𝓼𝓬𝓾𝓵𝓽𝓸𝓻 𝓮, 𝓮𝓶 𝟏𝟒𝟎𝟏 𝓹𝓮𝓻𝓭𝓮 𝓸 𝓬𝓸𝓷𝓬𝓾𝓻𝓼𝓸 𝓹𝓪𝓻𝓪 𝓪𝓼 𝓹𝓸𝓻𝓽𝓪𝓼 𝓭𝓸 𝓑𝓪𝓽𝓲𝓼𝓽𝓮́𝓻𝓲𝓸 𝓭𝓮 𝓕𝓵𝓸𝓻𝓮𝓷𝓬̧𝓪, 𝓬𝓸𝓷𝓬𝓮𝓫𝓲𝓭𝓪𝓼 𝓹𝓸𝓻 𝓛𝓸𝓻𝓮𝓷𝔃𝓸 𝓖𝓱𝓲𝓫𝓮𝓻𝓽𝓲. 𝓐 𝓭𝓮𝓻𝓻𝓸𝓽𝓪, 𝓬𝓸𝓷𝓽𝓾𝓭𝓸, 𝓻𝓮𝓷𝓸𝓿𝓸𝓾-𝓵𝓱𝓮 𝓪 𝓿𝓸𝓷𝓽𝓪𝓭𝓮 𝓭𝓮 𝓼𝓮 𝓭𝓮𝓭𝓲𝓬𝓪𝓻 𝓪̀ 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓾𝓻𝓪 𝓮 𝓪̀ 𝓮𝓷𝓰𝓮𝓷𝓱𝓪𝓻𝓲𝓪. 𝓡𝓾𝓶𝓪 𝓪 𝓡𝓸𝓶𝓪 𝓸𝓷𝓭𝓮 𝓮𝓼𝓽𝓾𝓭𝓪, 𝓬𝓸𝓶 𝓹𝓻𝓸𝓯𝓾𝓷𝓭𝓲𝓭𝓪𝓭𝓮, 𝓪𝓼 𝓻𝓾𝜾́𝓷𝓪𝓼 𝓭𝓪 𝓐𝓷𝓽𝓲𝓰𝓾𝓲𝓭𝓪𝓭𝓮 𝓮 𝓪𝓼 𝓽𝓮́𝓬𝓷𝓲𝓬𝓪𝓼 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝓽𝓲𝓿𝓪𝓼 𝓻𝓸𝓶𝓪𝓷𝓪𝓼 𝓮, 𝓪 𝓹𝓪𝓻𝓽𝓲𝓻 𝓭𝓮𝓼𝓼𝓪𝓼 𝓸𝓫𝓼𝓮𝓻𝓿𝓪𝓬̧𝓸̃𝓮𝓼, 𝓭𝓮𝓼𝓮𝓷𝓿𝓸𝓵𝓿𝓮 𝓷𝓸𝓿𝓪𝓼 𝓲𝓭𝓮𝓲𝓪𝓼 𝓼𝓸𝓫𝓻𝓮 𝓹𝓻𝓸𝓹𝓸𝓻𝓬̧𝓪̃𝓸, 𝓰𝓮𝓸𝓶𝓮𝓽𝓻𝓲𝓪 𝓮 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝓬̧𝓪̃𝓸 𝓺𝓾𝓮 𝓻𝓸𝓶𝓹𝓮𝓶 𝓬𝓸𝓶 𝓸 𝓲𝓭𝓮𝓪́𝓻𝓲𝓸 𝓶𝓮𝓭𝓲𝓮𝓿𝓪𝓵.
𝓠𝓾𝓪𝓷𝓭𝓸 𝓼𝓾𝓻𝓰𝓮 𝓸 𝓬𝓸𝓷𝓬𝓾𝓻𝓼𝓸 𝓹𝓪𝓻𝓪 𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪 𝓭𝓪 𝓬𝓪𝓽𝓮𝓭𝓻𝓪𝓵 𝓭𝓪 𝓼𝓾𝓪 𝓬𝓲𝓭𝓪𝓭𝓮, 𝓸𝓫𝓻𝓪 𝓬𝓸𝓶 𝓾𝓶𝓪 𝓭𝓲𝓶𝓮𝓷𝓼𝓪̃𝓸 𝓷𝓾𝓷𝓬𝓪 𝓿𝓲𝓼𝓽𝓪, 𝓼𝓮𝓷𝓽𝓮-𝓼𝓮 𝓹𝓻𝓮𝓹𝓪𝓻𝓪𝓭𝓸. 𝓜𝓲𝓽𝓸 𝓸𝓾 𝓯𝓪𝓬𝓽𝓸, 𝓪 𝓱𝓲𝓼𝓽𝓸𝓻𝓲𝓸𝓰𝓻𝓪𝓯𝓲𝓪 𝓭𝓲𝓿𝓮𝓻𝓰𝓮, 𝓶𝓪𝓼 𝓬𝓸𝓷𝓼𝓽𝓪 𝓺𝓾𝓮, 𝓭𝓾𝓻𝓪𝓷𝓽𝓮 𝓸 𝓬𝓸𝓷𝓬𝓾𝓻𝓼𝓸, 𝓸𝓼 𝓻𝓮𝓼𝓹𝓸𝓷𝓼𝓪́𝓿𝓮𝓲𝓼 𝓸 𝓺𝓾𝓮𝓼𝓽𝓲𝓸𝓷𝓪𝓻𝓪𝓶 𝓼𝓸𝓫𝓻𝓮 𝓬𝓸𝓶𝓸 𝓲𝓻𝓲𝓪 𝓮𝓻𝓰𝓾𝓮𝓻 𝓪 𝓰𝓲𝓰𝓪𝓷𝓽𝓮𝓼𝓬𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪 𝓼𝓮𝓶 𝓸𝓼 𝓽𝓻𝓪𝓭𝓲𝓬𝓲𝓸𝓷𝓪𝓲𝓼 𝓪𝓷𝓭𝓪𝓲𝓶𝓮𝓼 𝓭𝓮 𝓶𝓪𝓭𝓮𝓲𝓻𝓪, 𝓪𝓵𝓰𝓸 𝓺𝓾𝓮 𝓹𝓪𝓻𝓮𝓬𝓲𝓪 𝓲𝓶𝓹𝓸𝓼𝓼𝜾́𝓿𝓮𝓵 𝓹𝓪𝓻𝓪 𝓪 𝓮́𝓹𝓸𝓬𝓪. 𝓔𝓵𝓮 𝓻𝓮𝓬𝓾𝓼𝓸𝓾-𝓼𝓮 𝓪 𝓮𝔁𝓹𝓵𝓲𝓬𝓪𝓻 𝓸 𝓶𝓮́𝓽𝓸𝓭𝓸 𝓮 𝓪 𝓻𝓮𝓿𝓮𝓵𝓪𝓻 𝓭𝓮𝓽𝓪𝓵𝓱𝓮𝓼 𝓽𝓮́𝓬𝓷𝓲𝓬𝓸𝓼, 𝓶𝓪𝓼 𝓹𝓻𝓸𝓹𝓸̂𝓼 𝓾𝓶 𝓭𝓮𝓼𝓪𝓯𝓲𝓸: 𝓹𝓮𝓭𝓲𝓾 𝓪𝓸𝓼 𝓹𝓻𝓮𝓼𝓮𝓷𝓽𝓮𝓼 𝓺𝓾𝓮 𝓽𝓮𝓷𝓽𝓪𝓼𝓼𝓮𝓶 𝓬𝓸𝓵𝓸𝓬𝓪𝓻 𝓾𝓶 𝓸𝓿𝓸 𝓮𝓶 𝓹𝓮́ 𝓼𝓸𝓫𝓻𝓮 𝓾𝓶𝓪 𝓶𝓮𝓼𝓪 𝓵𝓲𝓼𝓪. 𝓝𝓲𝓷𝓰𝓾𝓮́𝓶 𝓬𝓸𝓷𝓼𝓮𝓰𝓾𝓲𝓾. 𝓑𝓻𝓾𝓷𝓮𝓵𝓵𝓮𝓼𝓬𝓱𝓲, 𝓮𝓷𝓽𝓪̃𝓸, 𝓫𝓪𝓽𝓮𝓾 𝓵𝓮𝓿𝓮𝓶𝓮𝓷𝓽𝓮 𝓪 𝓫𝓪𝓼𝓮 𝓭𝓸 𝓸𝓿𝓸 𝓷𝓪 𝓶𝓮𝓼𝓪, 𝓪𝓬𝓱𝓪𝓽𝓪𝓷𝓭𝓸-𝓪 𝓾𝓶 𝓹𝓸𝓾𝓬𝓸, 𝓮 𝓸 𝓸𝓿𝓸 𝓯𝓲𝓬𝓸𝓾 𝓮𝓶 𝓹𝓮́. 𝓞𝓾𝓿𝓲𝓾 𝓹𝓻𝓸𝓽𝓮𝓼𝓽𝓸𝓼: “𝓐𝓼𝓼𝓲𝓶 𝓺𝓾𝓪𝓵𝓺𝓾𝓮𝓻 𝓾𝓶 𝓬𝓸𝓷𝓼𝓮𝓰𝓾𝓮.ᐟ” 𝓡𝓮𝓽𝓸𝓻𝓺𝓾𝓲𝓾: “𝓣𝓪𝓶𝓫𝓮́𝓶 𝓭𝓲𝓻𝓲𝓪𝓶 𝓺𝓾𝓮 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝓲𝓻 𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪 𝓼𝓮𝓻𝓲𝓪 𝓯𝓪́𝓬𝓲𝓵, 𝓼𝓮 𝓿𝓲𝓼𝓼𝓮𝓶 𝓬𝓸𝓶𝓸 𝓯𝓪𝔃𝓮̂-𝓵𝓪.”
𝓑𝓻𝓾𝓷𝓮𝓵𝓵𝓮𝓼𝓬𝓱𝓲 𝓿𝓮𝓷𝓬𝓮𝓾 𝓸 𝓬𝓸𝓷𝓬𝓾𝓻𝓼𝓸, 𝓷𝓾𝓶 𝓹𝓾𝓻𝓸 𝓪𝓽𝓸 𝓭𝓮 𝓯𝓮́ 𝓷𝓪 𝓼𝓾𝓪 𝓾𝓽𝓸𝓹𝓲𝓪, 𝓮 𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪 𝓬𝓸𝓶𝓮𝓬̧𝓸𝓾 𝓪 𝓼𝓮𝓻 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝜾́𝓭𝓪 𝓮𝓶 𝟏𝟒𝟐𝟎, 𝓽𝓮𝓷𝓭𝓸 𝓯𝓲𝓬𝓪𝓭𝓸 𝓬𝓸𝓷𝓬𝓵𝓾𝜾́𝓭𝓪, 𝓮𝓼𝓽𝓻𝓾𝓽𝓾𝓻𝓪𝓵𝓶𝓮𝓷𝓽𝓮, 𝓮𝓶 𝟏𝟒𝟑𝟔. 𝓣𝓸𝓻𝓷𝓪-𝓼𝓮 𝓷𝓾𝓶 𝓭𝓸𝓼 𝓰𝓻𝓪𝓷𝓭𝓮𝓼 𝓰𝓮́𝓷𝓲𝓸𝓼 𝓭𝓸 𝓡𝓮𝓷𝓪𝓼𝓬𝓲𝓶𝓮𝓷𝓽𝓸 𝓲𝓽𝓪𝓵𝓲𝓪𝓷𝓸 𝓮 𝓮́ 𝓯𝓻𝓮𝓺𝓾𝓮𝓷𝓽𝓮𝓶𝓮𝓷𝓽𝓮 𝓬𝓸𝓷𝓼𝓲𝓭𝓮𝓻𝓪𝓭𝓸 𝓬𝓸𝓶𝓸 𝓸 𝓯𝓾𝓷𝓭𝓪𝓭𝓸𝓻 𝓭𝓪 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓾𝓻𝓪 𝓻𝓮𝓷𝓪𝓼𝓬𝓮𝓷𝓽𝓲𝓼𝓽𝓪.
𝓐 𝓻𝓮𝓵𝓪𝓬̧𝓪̃𝓸 𝓺𝓾𝓮 𝓸 𝓪𝓻𝓽𝓲𝓼𝓽𝓪 𝓮𝓼𝓽𝓪𝓫𝓮𝓵𝓮𝓬𝓮 𝓬𝓸𝓶 𝓪 𝓯𝓪𝓶𝜾́𝓵𝓲𝓪 𝓜𝓮́𝓭𝓲𝓬𝓲 𝓮́ 𝓮𝓼𝓽𝓻𝓾𝓽𝓾𝓻𝓪𝓵 𝓹𝓪𝓻𝓪 𝓬𝓸𝓶𝓹𝓻𝓮𝓮𝓷𝓭𝓮𝓻𝓶𝓸𝓼 𝓪 𝓲𝓶𝓹𝓸𝓻𝓽𝓪̂𝓷𝓬𝓲𝓪 𝓭𝓸 𝓶𝓮𝓬𝓮𝓷𝓪𝓽𝓸 𝓷𝓸 𝓬𝓸𝓷𝓽𝓮𝔁𝓽𝓸 𝓭𝓸 𝓡𝓮𝓷𝓪𝓼𝓬𝓲𝓶𝓮𝓷𝓽𝓸 𝓲𝓽𝓪𝓵𝓲𝓪𝓷𝓸. 𝓐 𝓪𝓼𝓬𝓮𝓷𝓼𝓪̃𝓸 𝓮𝓬𝓸𝓷𝓸́𝓶𝓲𝓬𝓪 𝓭𝓸𝓼 𝓜𝓮́𝓭𝓲𝓬𝓲, 𝓾𝓶𝓪 𝓯𝓪𝓶𝜾́𝓵𝓲𝓪 𝓭𝓪 𝓑𝓾𝓻𝓰𝓾𝓮𝓼𝓲𝓪 𝓭𝓪 𝓣𝓸𝓼𝓬𝓪𝓷𝓪, 𝓹𝓪𝓻𝓽𝓮 𝓭𝓸 𝓬𝓸𝓶𝓮́𝓻𝓬𝓲𝓸 𝓭𝓪 𝓵𝓪̃ 𝓮 𝓼𝓮𝓭𝓲𝓶𝓮𝓷𝓽𝓪-𝓼𝓮 𝓹𝓸𝓻 𝓿𝓸𝓵𝓽𝓪 𝓭𝓮 𝟏𝟒𝟎𝟎 𝓬𝓸𝓶 𝓪 𝓬𝓻𝓲𝓪𝓬̧𝓪̃𝓸 𝓭𝓸 𝓫𝓪𝓷𝓬𝓸 𝓹𝓸𝓻 𝓖𝓲𝓸𝓿𝓪𝓷𝓷𝓲 𝓭𝓮 𝓑𝓲𝓬𝓬𝓲. 𝓜𝓪𝓼 𝓮́ 𝓒𝓸𝓼𝓲𝓶𝓸 𝓭𝓮 𝓜𝓮𝓭𝓲𝓬𝓲 𝓺𝓾𝓮𝓶 𝓻𝓪𝓹𝓲𝓭𝓪𝓶𝓮𝓷𝓽𝓮 𝓬𝓸𝓶𝓹𝓻𝓮𝓮𝓷𝓭𝓮 𝓺𝓾𝓮 𝓸 𝓹𝓸𝓭𝓮𝓻 𝓶𝓪𝓲𝓼 𝓭𝓾𝓻𝓪𝓭𝓸𝓾𝓻𝓸 𝓷𝓪̃𝓸 𝓿𝓮𝓶 𝓪𝓹𝓮𝓷𝓪𝓼 𝓭𝓪 𝓯𝓸𝓻𝓬̧𝓪 𝓶𝓲𝓵𝓲𝓽𝓪𝓻 𝓸𝓾 𝓭𝓮 𝓽𝜾́𝓽𝓾𝓵𝓸𝓼 𝓷𝓸𝓫𝓲𝓵𝓲𝓪́𝓻𝓺𝓾𝓲𝓬𝓸𝓼, 𝓶𝓪𝓼 𝓭𝓪 𝓵𝓮𝓰𝓲𝓽𝓲𝓶𝓲𝓭𝓪𝓭𝓮 𝓼𝓲𝓶𝓫𝓸́𝓵𝓲𝓬𝓪. 𝓔 𝓮𝓼𝓼𝓪 𝓵𝓮𝓰𝓲𝓽𝓲𝓶𝓲𝓭𝓪𝓭𝓮 𝓹𝓸𝓭𝓲𝓪 𝓼𝓮𝓻 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝜾́𝓭𝓪 𝓪𝓽𝓻𝓪𝓿𝓮́𝓼 𝓭𝓸 𝓶𝓮𝓬𝓮𝓷𝓪𝓽𝓸.
𝓒𝓸𝓼𝓲𝓶𝓸 (𝓮 𝓸𝓼 𝓼𝓮𝓾𝓼 𝓼𝓾𝓬𝓮𝓼𝓼𝓸𝓻𝓮𝓼) 𝓷𝓪̃𝓸 𝓰𝓸𝓿𝓮𝓻𝓷𝓪𝓻𝓪𝓶 𝓸𝓯𝓲𝓬𝓲𝓪𝓵𝓶𝓮𝓷𝓽𝓮 𝓬𝓸𝓶𝓸 𝓹𝓻𝜾́𝓷𝓬𝓲𝓹𝓮𝓼. 𝓕𝓸𝓻𝓶𝓪𝓵𝓶𝓮𝓷𝓽𝓮, 𝓕𝓵𝓸𝓻𝓮𝓷𝓬̧𝓪 𝓶𝓪𝓷𝓽𝓮𝓿𝓮-𝓼𝓮 𝓬𝓸𝓶𝓸 𝓾𝓶𝓪 𝓻𝓮𝓹𝓾́𝓫𝓵𝓲𝓬𝓪. 𝓜𝓪𝓼 𝓸𝓼 𝓜𝓮́𝓭𝓲𝓬𝓲 𝓬𝓸𝓶𝓹𝓻𝓮𝓮𝓷𝓭𝓮𝓻𝓪𝓶 𝓺𝓾𝓮 𝓺𝓾𝓮𝓶 𝓬𝓸𝓷𝓽𝓻𝓸𝓵𝓪 𝓪 𝓬𝓾𝓵𝓽𝓾𝓻𝓪, 𝓪 𝓶𝓮𝓶𝓸́𝓻𝓲𝓪 𝓹𝓾́𝓫𝓵𝓲𝓬𝓪, 𝓪 𝓻𝓮𝓵𝓲𝓰𝓲𝓪̃𝓸 𝓮 𝓪 𝓲𝓶𝓪𝓰𝓮𝓶 𝓭𝓮 𝓹𝓻𝓸𝓼𝓹𝓮𝓻𝓲𝓭𝓪𝓭𝓮 𝓬𝓸𝓷𝓽𝓻𝓸𝓵𝓪 𝓽𝓪𝓶𝓫𝓮́𝓶 𝓪 𝓹𝓮𝓻𝓬𝓮𝓬̧𝓪̃𝓸 𝓭𝓸 𝓹𝓸𝓭𝓮𝓻. 𝓞 𝓶𝓮𝓬𝓮𝓷𝓪𝓽𝓸 𝓮𝓻𝓪 𝓿𝓲𝓼𝓽𝓸 𝓬𝓸𝓶𝓸 𝓽𝓮𝓬𝓷𝓸𝓵𝓸𝓰𝓲𝓪 𝓹𝓸𝓵𝜾́𝓽𝓲𝓬𝓪 𝓮 𝓸 𝓪𝓹𝓸𝓲𝓸 𝓪̀𝓼 𝓪𝓻𝓽𝓮𝓼, 𝓪̀ 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓾𝓻𝓪, 𝓪̀ 𝓘𝓰𝓻𝓮𝓳𝓪 𝓮 𝓪𝓸𝓼 𝓲𝓷𝓽𝓮𝓵𝓮𝓬𝓽𝓾𝓪𝓲𝓼 𝓷𝓪̃𝓸 𝓮𝓻𝓪 𝓻𝓮𝓼𝓾𝓵𝓽𝓪𝓭𝓸 𝓭𝓮 𝓼𝓲𝓶𝓹𝓵𝓮𝓼 𝓰𝓸𝓼𝓽𝓸 𝓮𝓼𝓽𝓮́𝓽𝓲𝓬𝓸, 𝓶𝓪𝓼 𝓹𝓪𝓻𝓽𝓮 𝓭𝓮 𝓾𝓶𝓪 𝓮𝓼𝓽𝓻𝓪𝓽𝓮́𝓰𝓲𝓪 𝓭𝓮 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝓬̧𝓪̃𝓸 𝓭𝓮 𝓪𝓾𝓽𝓸𝓻𝓲𝓭𝓪𝓭𝓮 𝓼𝓸𝓬𝓲𝓪𝓵. 𝓔 𝓪 𝓹𝓻𝓸𝓿𝓪 𝓭𝓮𝓼𝓼𝓮 𝓹𝓸𝓭𝓮𝓻 𝓮𝓯𝓮𝓽𝓲𝓿𝓸 𝓮𝓼𝓽𝓪́ 𝓷𝓸 𝓯𝓪𝓬𝓽𝓸 𝓭𝓮 𝓪 𝓯𝓪𝓶𝜾́𝓵𝓲𝓪 𝓽𝓮𝓻 𝓽𝓲𝓭𝓸 𝓭𝓸𝓲𝓼 𝓹𝓪𝓹𝓪𝓼 (𝓛𝓮𝓪̃𝓸 𝓧 𝓮 𝓒𝓵𝓮𝓶𝓮𝓷𝓽𝓮 𝓥𝓘𝓘) 𝓮 𝓭𝓾𝓪𝓼 𝓻𝓪𝓲𝓷𝓱𝓪𝓼 𝓭𝓮 𝓕𝓻𝓪𝓷𝓬̧𝓪 (𝓒𝓪𝓽𝓪𝓻𝓲𝓷𝓪 𝓮 𝓜𝓪𝓻𝓲𝓪 𝓭𝓮 𝓜𝓮𝓭𝓲𝓬𝓲).
𝓠𝓾𝓪𝓷𝓭𝓸 𝓑𝓻𝓾𝓷𝓮𝓵𝓵𝓮𝓼𝓬𝓱𝓲 𝓻𝓮𝓰𝓻𝓮𝓼𝓼𝓸𝓾 𝓭𝓮 𝓡𝓸𝓶𝓪 𝓬𝓱𝓮𝓲𝓸 𝓭𝓮 𝓲𝓭𝓮𝓲𝓪𝓼 𝓲𝓷𝓼𝓹𝓲𝓻𝓪𝓭𝓪𝓼 𝓷𝓪 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓾𝓻𝓪 𝓬𝓵𝓪́𝓼𝓼𝓲𝓬𝓪, 𝓸𝓼 𝓜𝓮́𝓭𝓲𝓬𝓲 𝓮𝓼𝓽𝓪𝓿𝓪𝓶 𝓪 𝓬𝓸𝓷𝓼𝓸𝓵𝓲𝓭𝓪𝓻 𝓸 𝓼𝓮𝓾 𝓹𝓸𝓭𝓮𝓻 𝓮𝓬𝓸𝓷𝓸́𝓶𝓲𝓬𝓸 𝓮 𝓹𝓸𝓵𝜾́𝓽𝓲𝓬𝓸 𝓮𝓶 𝓕𝓵𝓸𝓻𝓮𝓷𝓬̧𝓪. 𝓒𝓸𝓼𝓲𝓶𝓸 𝓹𝓮𝓻𝓬𝓮𝓫𝓮𝓾 𝓻𝓪𝓹𝓲𝓭𝓪𝓶𝓮𝓷𝓽𝓮 𝓺𝓾𝓮 𝓪 𝓷𝓸𝓿𝓪 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓾𝓻𝓪 𝓭𝓮 𝓑𝓻𝓾𝓷𝓮𝓵𝓵𝓮𝓼𝓬𝓱𝓲 𝓹𝓸𝓭𝓲𝓪 𝓽𝓸𝓻𝓷𝓪𝓻-𝓼𝓮 𝓾𝓶 𝓼𝜾́𝓶𝓫𝓸𝓵𝓸 𝓭𝓸 𝓹𝓻𝓮𝓼𝓽𝜾́𝓰𝓲𝓸 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓵 𝓭𝓪 𝓯𝓪𝓶𝜾́𝓵𝓲𝓪.
𝓔𝓶𝓫𝓸𝓻𝓪 𝓪 𝓬𝓾́𝓹𝓾𝓵𝓪 𝓭𝓪 𝓬𝓪𝓽𝓮𝓭𝓻𝓪𝓵 𝓷𝓪̃𝓸 𝓽𝓮𝓷𝓱𝓪 𝓼𝓲𝓭𝓸 𝓾𝓶 𝓹𝓻𝓸𝓳𝓮𝓽𝓸 𝓯𝓲𝓷𝓪𝓷𝓬𝓲𝓪𝓭𝓸 𝓹𝓮𝓵𝓸𝓼 𝓜𝓮́𝓭𝓲𝓬𝓲, 𝓸 𝓼𝓾𝓬𝓮𝓼𝓼𝓸 𝓶𝓸𝓷𝓾𝓶𝓮𝓷𝓽𝓪𝓵 𝓭𝓮𝓼𝓼𝓪 𝓸𝓫𝓻𝓪 𝓯𝓮𝔃 𝓭𝓮 𝓑𝓻𝓾𝓷𝓮𝓵𝓵𝓮𝓼𝓬𝓱𝓲 𝓸 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓸 𝓶𝓪𝓲𝓼 𝓹𝓻𝓮𝓼𝓽𝓲𝓰𝓲𝓪𝓭𝓸 𝓭𝓪 𝓬𝓲𝓭𝓪𝓭𝓮 𝓮 𝓒𝓸𝓼𝓲𝓶𝓸 𝓪𝓹𝓻𝓸𝔁𝓲𝓶𝓸𝓾-𝓼𝓮 𝓭𝓮𝓵𝓮 𝓬𝓸𝓶𝓸 𝓹𝓪𝓽𝓻𝓸𝓷𝓸. 𝓐 𝓑𝓪𝓼𝜾́𝓵𝓲𝓬𝓪 𝓭𝓮 𝓢𝓪𝓷 𝓛𝓸𝓻𝓮𝓷𝔃𝓸 𝓸𝓾 𝓪 𝓒𝓪𝓹𝓮𝓵𝓪 𝓟𝓪𝔃𝔃𝓲 𝓼𝓪̃𝓸 𝓭𝓾𝓪𝓼 𝓸𝓫𝓻𝓪𝓼 𝓯𝓾𝓷𝓭𝓪𝓶𝓮𝓷𝓽𝓪𝓲𝓼 𝓹𝓪𝓻𝓪 𝓬𝓸𝓶𝓹𝓻𝓮𝓮𝓷𝓭𝓮𝓻 𝓪 𝓪𝓻𝓺𝓾𝓲𝓽𝓮𝓽𝓾𝓻𝓪 𝓭𝓸 𝓡𝓮𝓷𝓪𝓼𝓬𝓲𝓶𝓮𝓷𝓽𝓸 𝓮 𝓸 𝓲𝓶𝓹𝓪𝓬𝓽𝓸 𝓱𝓲𝓼𝓽𝓸́𝓻𝓲𝓬𝓸 𝓭𝓪 𝓮𝓼𝓽𝓻𝓪𝓽𝓮́𝓰𝓲𝓪 𝓭𝓸𝓼 𝓜𝓮́𝓭𝓲𝓬𝓲, 𝓺𝓾𝓮 𝓬𝓻𝓲𝓸𝓾 𝓾𝓶 𝓶𝓸𝓭𝓮𝓵𝓸 𝓭𝓸 𝓶𝓮𝓬𝓮𝓷𝓪𝓼, 𝓮𝓶 𝓺𝓾𝓮 𝓻𝓲𝓺𝓾𝓮𝔃𝓪, 𝓹𝓸𝓭𝓮𝓻 𝓹𝓸𝓵𝜾́𝓽𝓲𝓬𝓸 𝓮 𝓲𝓷𝓸𝓿𝓪𝓬̧𝓪̃𝓸 𝓪𝓻𝓽𝜾́𝓼𝓽𝓲𝓬𝓪 𝓼𝓮 𝓻𝓮𝓯𝓸𝓻𝓬̧𝓪𝓶 𝓶𝓾𝓽𝓾𝓪𝓶𝓮𝓷𝓽𝓮. 𝓔𝓼𝓼𝓮 𝓶𝓸𝓭𝓮𝓵𝓸 𝓼𝓮𝓻𝓲𝓪 𝓭𝓮𝓹𝓸𝓲𝓼 𝓼𝓮𝓰𝓾𝓲𝓭𝓸 𝓹𝓸𝓻 𝓸𝓾𝓽𝓻𝓪𝓼 𝓯𝓪𝓶𝜾́𝓵𝓲𝓪𝓼 𝓲𝓽𝓪𝓵𝓲𝓪𝓷𝓪𝓼 𝓮 𝓪𝓬𝓪𝓫𝓪𝓻𝓲𝓪 𝓹𝓸𝓻 𝓭𝓮𝓯𝓲𝓷𝓲𝓻 𝓰𝓻𝓪𝓷𝓭𝓮 𝓹𝓪𝓻𝓽𝓮 𝓭𝓪 𝓬𝓾𝓵𝓽𝓾𝓻𝓪 𝓭𝓸 𝓡𝓮𝓷𝓪𝓼𝓬𝓲𝓶𝓮𝓷𝓽𝓸.
𝓐 𝓾𝓽𝓸𝓹𝓲𝓪 𝓭𝓪 𝓬𝓪𝓼𝓬𝓪 𝓭𝓮 𝓸𝓿𝓸 𝓶𝓾𝓭𝓸𝓾 𝓸 𝓶𝓾𝓷𝓭𝓸 𝓮 𝓹𝓸𝓭𝓮𝓻𝓲𝓪 𝓪𝓳𝓾𝓭𝓪𝓻-𝓷𝓸𝓼 𝓪 𝓬𝓸𝓶𝓹𝓻𝓮𝓮𝓷𝓭𝓮𝓻, 𝓭𝓮 𝓯𝓸𝓻𝓶𝓪 𝓼𝓲𝓶𝓹𝓵𝓮𝓼, 𝓺𝓾𝓮 𝓷𝓪̃𝓸 𝓫𝓪𝓼𝓽𝓪 𝓶𝓾𝓭𝓪𝓻 𝓪 𝓛𝓮𝓲 𝓭𝓸 𝓜𝓮𝓬𝓮𝓷𝓪𝓽𝓸, 𝓼𝓮𝓷𝓭𝓸 𝓼𝓸𝓫𝓻𝓮𝓽𝓾𝓭𝓸 𝓷𝓮𝓬𝓮𝓼𝓼𝓪́𝓻𝓲𝓸 𝓺𝓾𝓮 𝓸𝓼 𝓹𝓪𝜾́𝓼𝓮𝓼 𝓽𝓮𝓷𝓱𝓪𝓶, 𝓷𝓸 𝓔𝓼𝓽𝓪𝓭𝓸, 𝓸 𝓮𝔁𝓮𝓶𝓹𝓵𝓸 𝓭𝓪 𝓲𝓶𝓹𝓸𝓻𝓽𝓪̂𝓷𝓬𝓲𝓪 𝓭𝓪 𝓬𝓸𝓷𝓼𝓽𝓻𝓾𝓬̧𝓪̃𝓸 𝓭𝓮 𝓾𝓶𝓪 𝓲𝓶𝓪𝓰𝓮𝓶 𝓭𝓮 𝓿𝓪𝓷𝓰𝓾𝓪𝓻𝓭𝓪 𝓮 𝓭𝓮 𝓹𝓻𝓸𝓰𝓻𝓮𝓼𝓼𝓸 𝓺𝓾𝓮 𝓿𝓪𝓵𝓸𝓻𝓲𝔃𝓪 𝓮 𝓼𝓾𝓹𝓸𝓻𝓽𝓪, 𝓪𝓬𝓲𝓶𝓪 𝓭𝓮 𝓽𝓾𝓭𝓸, 𝓪 𝓬𝓻𝓲𝓪𝓬̧𝓪̃𝓸 𝓪𝓻𝓽𝜾́𝓼𝓽𝓲𝓬𝓪. 𝓝𝓪̃𝓸 𝓱𝓪́, 𝓷𝓾𝓷𝓬𝓪 𝓱𝓸𝓾𝓿𝓮, 𝓯𝓾𝓽𝓾𝓻𝓸 𝓷𝓾𝓶 𝓹𝓻𝓮𝓼𝓮𝓷𝓽𝓮 𝓺𝓾𝓮 𝓷𝓪̃𝓸 𝓿𝓪𝓵𝓸𝓻𝓲𝔃𝓪 𝓸𝓼 𝓪𝓻𝓽𝓲𝓼𝓽𝓪𝓼 𝓮 𝓪𝓼 𝓼𝓾𝓪𝓼 𝓸𝓫𝓻𝓪𝓼. 𝓜𝓪𝓼, 𝓮𝓶 𝓽𝓸𝓭𝓸 𝓸 𝓬𝓪𝓼𝓸, 𝓮𝓼𝓽𝓪 𝓻𝓮𝓿𝓲𝓼𝓪̃𝓸 𝓭𝓪 𝓛𝓮𝓲 𝓭𝓸 𝓜𝓮𝓬𝓮𝓷𝓪𝓽𝓸 𝓹𝓸𝓻𝓽𝓾𝓰𝓾𝓮𝓼𝓪 𝓽𝓸𝓻𝓷𝓪-𝓪 𝓶𝓪𝓲𝓼 𝓪́𝓰𝓲𝓵, 𝓪𝓶𝓹𝓵𝓪 𝓮 𝓿𝓪𝓷𝓽𝓪𝓳𝓸𝓼𝓪 𝓺𝓾𝓮 𝓪 𝓪𝓷𝓽𝓮𝓻𝓲𝓸𝓻. 𝓥𝓸𝓵𝓽𝓪𝓻𝓮𝓶𝓸𝓼 𝓪𝓸 𝓽𝓮𝓶𝓪.
𝓟𝓪𝓻𝓪 𝓳𝓪́, 𝓯𝓲𝓬𝓪 𝓾𝓶 𝓪𝓹𝓮𝓵𝓸 𝓪𝓸 𝓬𝓸𝓷𝓼𝓾𝓶𝓸 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓵 𝓬𝓸𝓶 𝓪 𝓮𝔁𝓹𝓸𝓼𝓲𝓬̧𝓪̃𝓸 “𝓡𝓮𝓯𝓵𝓮𝔁𝓸𝓼, 𝓔𝓷𝓬𝓵𝓪𝓿𝓮𝓼, 𝓓𝓮𝓼𝓿𝓲𝓸” 𝓭𝓮 𝓙𝓸𝓼𝓮́ 𝓟𝓮𝓭𝓻𝓸 𝓒𝓻𝓸𝓯𝓽, 𝓹𝓪𝓽𝓮𝓷𝓽𝓮 𝓷𝓸 𝓜𝓐𝓒/𝓒𝓒𝓑, 𝓮𝓶 𝓛𝓲𝓼𝓫𝓸𝓪, 𝓪𝓽𝓮́ 𝟏𝟑 𝓭𝓮 𝓼𝓮𝓽𝓮𝓶𝓫𝓻𝓸 𝓭𝓮 𝟐𝟎𝟐𝟔.