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only a very few private friends were allowed the privilege of visiting the green-room, which was as handsomely furnished as any nobleman's drawing-room, and those friends appeared always in evening dress....There was great propriety and decorum observed in every part of the establishment, great harmony, general content prevailed in every department of the theatre, and universal regret was felt when the admirable managers were compelled to resign their government.
218:
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with a motley crew of actors, actresses and all the support staff; and only remarried, after her disastrous early experience with
Vestris, when forced to by American authorities in order to allow her to bring her tour across their borders. Lucia Elizabeth Vestris was a prominent figure in the history of British theatre and customs in the nineteenth century.
326:, and thus a great-aunt-in-law of Eliza Lucia's husband, was once scandalized by Talma's showing up bare-legged on stage in an unusually realistic ancient-Roman costume. The legend was first stated in 1847, when Madame Vestris was still alive, by Thomas Marshall in his book on British actors and actresses, and, after being almost held up to ridicule by
1539:
645:
also bears testimony to the fact that: ‘To
Vestris's honour, she was not only scrupulously careful not to offend propriety by word or action, but she knew very well how to repress any attempt at double-entendre, or doubtful insinuation, in others. The green-room in Covent Garden was a most agreeable
485:
as men, including the roles of management, ownership and administration. Though women had the experience and qualifications from past family ventures they were often not able to secure funding enough to finance their ventures in the capital-intensive industry. When Covent Garden management sought to
1494:
Memoirs of the life, public and private adventures, of Madame
Vestris: of the Theatres Royal Drury Lane, Covent Garden, Olympic and Haymarket, with interesting and amusing anecdotes of celebrated characters in the fashionable world, detailing an interesting variety of singularly curious and amusing
636:
Madame was an admirable manager, and
Charles an amiable assistant. The arrangements behind the scenes were perfect, the dressing rooms good, the attendants well-chosen, the wings kept clear of all intruders, no strangers or crutch and toothpick loafers allowed behind to flirt with the ballet-girls,
477:
Despite her celebrity status and popularity, Madame
Vestries was not met with total social acceptance for her breeches roles. Her revolutionary action as an actress spurred vicious attacks on her character by her more conservative contemporaries. Vestries' risqué activities onstage were taken to be
712:
In an age where women were denied autonomy, and brought up to believe they could not manage their own lives and their own money, let alone run a business employing hundreds of people including both men and women, Vestris was a business-woman par excellence. She managed theatres; took plays on tour
378:
performance in which she showed off her fabulously perfect legs, launched her career as a scandalous beauty. From then on she remained an extraordinary favourite in opera, musical farces, and comedies until her retirement in 1854. At the King's
Theatre she sang in the English premieres of many
689:
About the same time it was that Madame
Vestris made her last appearance on our Italian stage. There, if she had possessed musical patience and energy, she might have queened it; because she possessed (half Italian by birth) one of the most luscious of low voices—found, since
694:'s time, excellent in woman—great personal beauty, and almost faultless figure, which she knew to adorn with consummate art—and no common stage address. – But a less arduous theatrical career pleased her better; and so she, too, could not—one might perhaps say, because she
649:
In the late 1840s
Vestris began to appear less and less on the stage because of the debts she and her husband owed and also because she began to raise her late sister's children. Her last performance (1854) was for Mathews' benefit, in an adaptation of
478:
representative of her own lack of morality and social purity. Disregarding public backlash, Madame
Vestries found great financial achievement with her breeches roles and gained the ability to take a position of power within the theatre industry.
498:—for which she made this house famous. She produced numerous works by the contemporary playwright James Planché, with whom she had a successful partnership, which included him contributing ideas for staging and costumes.
506:
182:, appointed as Royal Engraver to the king. Gaetano Bartolozzi was a successful art dealer, and the family moved to Europe in 1798 when he sold off his business. They spent time in Paris and
1401:
Our recent actors: being recollections critical, and, in many cases, personal, of late distinguished performers of both sexes. With some incidental notices of living actors
1581:
1343:
782:
778:
987:
1601:
340:, and has since been regularly revived by the main following encyclopaedical sources. Finally, the legend has been refuted by modern biographers of Madame Vestris.
433:", "Meet Me by Moonlight Alone" (written by Joseph Augustine Wade), "I've been roaming," etc. She also took part in world premieres, creating the role of Felix in
1606:
209:
four years later. Nevertheless, since she had started singing and acting professionally as "Madame
Vestris", she retained the stage name throughout her career.
1656:
194:. They returned to London to start over and Gaetano taught drawing. The couple separated in London and Therese gave piano lessons to support her daughters.
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wherein the actor narrates an episode in 1790 in which a 'Madame Vestris', not Eliza Lucia Vestris who was born several years later, but
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632:
About her time in charge at Covent Garden, a note by the actor James Robertson Anderson reported in C.J. Mathews's autobiography, says:
202:
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1026:
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Anderson was by then the sole survivor of the brilliant company by whom "London Assurance" was first played (Henry Saxe Wyndham,
417:
336:
1020:
197:
Lucia studied music and was noted for her voice and dancing ability. She was married at age 16 to the French ballet dancer,
191:
1518:
Elliott Vanskike, "Consistent Inconsistencies: The Transvestite Actress Madame Vestris and Charlotte Brontë's Shirley.", in
930:
Mémoires de J.-F.-Talma écrits par lui mème, et recueillis et mis en ordre sur les papiers de sa famille par Alexandre Dumas
1104:
1520:
914:
1529:
1661:
548:
1513:
Lives of Shakespearean Actors, Part IV: Helen Faucit, Lucia Elizabeth Vestris and Fanny Kemble by their Contemporaries.
486:
reduce the acting payroll in 1830, however Vestris had accumulated a fortune from performing and was able to lease the
39:
1591:
1483:
Kathy Fletcher, "Planche, Vestris, and the Transvestite Role: Sexuality and Gender in Victorian Popular Theatre", in
1646:
1504:
J. Norwood, "Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestries and Sara Lane."
1485:
542:
171:
1412:
The life of Charles James Mathews: chiefly autobiographical, with selections from his correspondence and speeches
1403:, London, Samson Low, Marston, Searle & Rivington, 1888, II, pp. 148–149 (accessible for free online at
344:
263:
167:
1453:, Grove (Oxford University Press), New York, 1997 (article: "Vestris , Lucia Elizabeth ", IV, pp. 979–980)
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lounging place, from which was banished every word or allusion that would not be tolerated in a drawing-room.’
358:
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259:
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Her musical accomplishments and education were not sufficient to distinguish her in grand opera, and in high
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970:
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135:
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among them) "never quite forgave her for not becoming the greatest English operatic contralto of her age:"
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574:
331:
284:
1427:
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885:"LIBELS ON MADAME VESTRIS. The following affidavit has been made by Madame Vestris in refutation of the…"
546:
since 1605; Vestris played Rosaline. In 1840 she staged one of the first relatively uncut productions of
540:
Mme Vestris and Mathews inaugurated their management of Covent Garden with the first-known production of
1196:
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717:
522:
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105:
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415:(as Arsace, 1824). She excelled in "breeches parts," and she also performed in Mozart operas, such as
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452:
293:
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553:
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151:
45:
1235:
556:. This began a tradition of female Oberons that lasted in the British theatre for seventy years.
605:
591:
430:
399:
1181:, Buczkowski Personal Website, University of Michigan (accessed 16 November 2010). According to
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158:, for which the house became famous. She also produced his work at other theatres she managed.
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1143:
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139:
1543:
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529:. They cooperated in their subsequent managerial ventures, including the management of the
426:
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155:
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has however turned out to be untrue. The mistake was the result of a misreading of Talma's
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voice and attractive appearance gained Madame Vestris her first leading role in Italian
1191:), however, the occurrence ought to be traced back to 1832, when Madame Vestris staged
1182:
766:. Vol. I: A–K). York St., Covent Garden, London: George Bell and Sons. p. 90.
447:
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143:
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681:, etc., she was "delightfully arch and bewitching." However, many an observer (and
573:". The play has been popular ever since, receiving its most recent revival at the
521:
She married in 1838 for the second time, to the British actor and former associate
510:
495:
434:
319:
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and various other theatres. A legend that she performed as a tragic actress at the
251:
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of Florentine origin, but her husband deserted her for another woman and left for
131:
20:
462:
928:
800:, Buczkowski Personal Website, University of Michigan, accessed 16 November 2010.
1005:
1178:
797:
411:
612:, Adelaide had a sensational but short career before retiring into marriage.
166:
She was born in London in 1797, the first of two daughters of German pianist
368:, where she performed the male title-role of no less than Don Giovanni: the
362:
243:
142:. While popular in her time, she was more notable as a theatre producer and
128:
1497:, London, Printed for the bookseller, 1839 (accessible for free online at
1375:
1352:. Vol. 27 (11th ed.). Cambridge University Press. p. 1063.
936:
179:
933:(in French). Vol. II. Paris: Hippolyte Souverain. pp. 237–239.
1234:, London, Thomas W. Cooper, 1860, p. 47 (accessible for free online in
1232:
Dramatic Reminiscences; or, actors and actresses in England and America
405:
229:
1550:
666:
206:
187:
183:
146:. After accumulating a fortune from her performances, she leased the
1418:, London: Macmillan & Co., 1879 (accessible for free online at
1392:, London, Appleyard, s.d., but 1847 (accessible for free online at
1333:
This article incorporates text from a publication now in the
614:
505:
461:
289:
247:
216:
662:. She died on 8 August 1856 at her home in Fulham, Grove Lodge.
425:(Cherubino), in a complete specially crafted English version by
190:, where they found that their estate had been looted during the
763:
Dictionary of Painters and Engravers, Biographical and Critical
608:, actor-manager, and one of the theatre's owners, and niece of
559:
In 1841 Vestris produced the highly successful Victorian farce
292:. In the French capital city she occasionally appeared at the
379:
Rossini operas, sometimes conducted by the composer himself:
1495:
scenes, as perferformed before and behind the curtain (etc.)
1437:, New York, Brentano's, s.d. (accessible for free online at
1140:"The Edwardian Theatre: Essays on Performance and the Stage"
127:; 3 March 1797 – 8 August 1856) was a British actress and a
490:
from John Scott. There she began presenting a series of
429:. She was credited with popularizing such new songs as "
1478:
The Daughters of Thespis: or, a Peep Behind the Curtain.
343:
Her first hits in English were in 1820 at age 23 at the
1255:
1253:
841:
Dorothy de Val, "Jansen, Therese," in David Wyn Jones,
1312:. Friends of Kensal Green Cemetery. 1997. p. 102.
1212:, Volume 2, London, Chatto & Windus, 1906, p. 161)
669:
she was only moderately successful. But in plays like
1527:
1210:
The annals of Covent Garden theatre from 1732 to 1897
1374:, Oxford University Press, 2004 (accessed online in
272:
and performed the roles of Dorabella and Susanna in
760:Bryan, Michael (1886). Robert Edmund Graves (ed.).
747:
Women in World History: A Biographical Encyclopedia
92:
84:
68:
52:
30:
768:Original from Fogg Library, Digitized 18 May 2007.
1390:Lives of the most celebrated actors and actresses
1179:Paul J. Buczkowski, "Associates of James Planche"
798:Paul J. Buczkowski, "Associates of James Planche"
330:in 1888, it was on the contrary taken as true by
1283:Volume I, p. 242 (accessible for free online in
1094:, Library of Congress, accessed 16 November 2010
1062:
1060:
913:, volume 6, 1964 (accessible for free online in
819:, online edition, Oxford University Press, 2010.
641:Another contemporary actor George Vandenhoff in
584:to the theatre in English versions of Bellini's
687:
288:. She had immediate success in both London and
154:and extravaganzas, especially popular works by
982:New York, Macmillan, 1894, Volume 32, article
16:British actress, contralto and theatre manager
828:Oliver Strunk, "Notes on a Haydn autograph",
174:. He was a musician and son of the immigrant
8:
1016:(11th ed.). Cambridge University Press.
793:
791:
1360:, New York: Columbia University Press, 1974
896:
894:
873:. The Limerick Chronicle, 6 December. 1826.
859:(Sunday 17 August 1856): 9. 17 August 1856.
525:, just before leaving on tour with him for
445:, 1824), and, above all, that of Fatima in
1480:1841. Memphis: General Books, 2012. Print.
812:Stephen C. Fisher, "Jansen , Therese", in
481:Women did not have as much influence over
451:, "the Grand Romantic and Fairy Opera" by
38:
27:
1582:19th-century British women opera singers
1259:
808:
806:
334:in his article on Madame Vestris in the
1534:
1524:, Vol 50, no. 4, 1996: pp. 464–488
1372:Oxford Dictionary of National Biography
1247:"West London Observer", 16 August 1856.
816:Grove Dictionary of Music and Musicians
733:
134:, appearing in works by, among others,
1602:English theatre managers and producers
1508:, vol. 33, no. 1, 2017, pp. 3–21.
1465:Madame Vestris: A Theatrical Biography
984:Mathews, Lucia Elizabeth or Elizabetta
845:Oxford: Oxford University Press, 2009.
622:, accompanied by spaniels, lithograph
421:(Blonde) in 1827, and later, in 1842,
1368:Vestris , Lucia Elizabeth (1797–1856)
1045:Appleton, pp. 11–12; Williams, p. 34.
502:Second marriage and subsequent career
7:
1607:Women theatre managers and producers
1489:, Vol 15, no. 1, 1987: pp. 9–33
1467:, London: Sidgwick and Jackson, 1973
1033:Dizionario Biografico degli Italiani
910:Dizionario Biografico degli Italiani
569:, with possibly the first use of a "
1657:19th-century English businesspeople
1358:Madame Vestris and the London Stage
1111:. L'Almanacco di Gherardo Casaglia
705:Thirty Years' Musical Recollections
439:The Alcaid or The Secrets of Office
150:in London and produced a series of
1652:19th-century English businesswomen
1383:A Shakespeare Companion 1564–1964,
935:It was, in fact, the rehearsal of
887:. The Paladium, 10 December. 1826.
843:Oxford Composer Companions: Haydn,
707:, London, Hurst and Blackett, 1862
473:, coloured engraving, London, 1824
14:
1572:English people of Italian descent
1450:The New Grove Dictionary of Opera
1027:The New Grove Dictionary of Opera
1632:Burials at Kensal Green Cemetery
1597:English people of German descent
1549:
1537:
1326:
1007:"Vestris, Lucia Elizabeth"
986:(accessible for free on line at
698:not—remain on the Italian stage.
580:She also introduced the soprano
337:Dictionary of National Biography
320:Françoise-Marie-Rosette Gourgaud
1515:, Pickering & Chatto, 2011.
927:Talma, François-Joseph (1849).
443:Little Theatre in the Haymarket
1577:19th-century English actresses
1142:. Cambridge University Press.
222:Madame Vestris as Don Giovanni
1:
1637:19th-century theatre managers
1521:Nineteenth-Century Literature
1492:Charles Molloy W.M.E. (ed.),
1021:Enciclopedia dello spettacolo
623:
448:Oberon or The Elf King's Oath
418:Die Entführung aus dem Serail
233:
19:For the French actress, see
1617:British burlesque performers
1435:Madame Vestris and her times
855:"Memoir of Madame Vestris".
743:"Vestris, Lucia (1797–1856)"
457:Theatre Royal, Covent Garden
1587:British operatic contraltos
1405:Hathy Trust Digital Library
905:Bartolozzi, Lucia Elisabeth
391:(as Malcolm Groeme, 1823),
262:. She also sang in 1816 in
125:Elizabetta Lucia Bartolozzi
57:Elizabetta Lucia Bartolozzi
1678:
1486:Nineteenth-Century Theatre
1138:Booth, Michael R. (1996).
1103:Casaglia, Gherardo (2005).
741:Hewsen, Robert H. (2002).
455:, which was staged at the
172:Gaetano Stefano Bartolozzi
18:
1385:Baltimore, Penguin, 1964.
943:, and not of Corneille's
549:A Midsummer Night's Dream
300:playing Camille opposite
168:Theresa Jansen Bartolozzi
37:
1463:Clifford John Williams,
1344:Vestris, Lucia Elizabeth
1221:Mathews, II, pp. 105–106
515:Madame Vestris as Apollo
242:In 1815, at age 18, her
162:Early life and education
1410:Charles James Mathews,
1399:John Westland Marston,
1349:Encyclopædia Britannica
1199:at the Olympic Theatre.
1092:"Greatest Hits 1820–60"
1013:Encyclopædia Britannica
999:Such as, for instance:
785:(accessed 10 June 2011)
660:Sunshine through Clouds
620:Lucia Elizabeth Vestris
467:Madame Vestris as Felix
203:great family of dancers
170:and Italian art dealer
118:Lucia Elizabeth Vestris
32:Lucia Elizabeth Vestris
710:
643:Dramatic Reminiscences
639:
629:
552:, in which she played
518:
474:
423:The Marriage of Figaro
285:The Marriage of Figaro
256:II ratto di Proserpina
239:
199:Auguste Armand Vestris
108:(1838–1856; her death)
1506:New Theatre Quarterly
1356:William H. Appleton,
1197:William Bayle Bernard
718:Kensal Green Cemetery
634:
618:
523:Charles James Mathews
509:
483:theatrical production
465:
409:(as Emma, 1824), and
328:John Westland Marston
302:François-Joseph Talma
250:in the title-role of
220:
178:, a noted artist and
106:Charles James Mathews
1378:on 21 December 2013)
1018:; the authoritative
543:Love's Labour's Lost
517:, English, 1837–1840
453:Carl Maria von Weber
403:(as Edoardo, 1823),
224:in W.T. Moncrieff's
176:Francesco Bartolozzi
1662:Singers from London
1433:Charles E. Pearce,
1416:Charles Dickens Jr.
1230:George Vandenhoff,
1193:The Conquering Game
1169:Pearce, pp. 161–163
533:and the theatre in
397:(as Zomira, 1823),
394:Ricciardo e Zoraide
46:Robert William Buss
1592:English contraltos
900:Raoul Meloncelli,
703:Henry F. Chorley,
652:Madame de Girardin
630:
519:
475:
459:on 12 April 1826.
400:Matilde di Shabran
385:(as Pippo, 1821),
371:succès de scandale
366:Giovanni in London
240:
226:Giovanni in London
1647:Bartolozzi family
1459:978-0-19-522186-2
1188:box set (theatre)
1126:V&A's website
830:Musical Quarterly
716:She is buried at
679:Naval Engagements
656:La Joie fait peur
604:). A daughter of
388:La donna del lago
354:Siege of Belgrade
201:, a scion of the
115:
114:
85:Years active
1669:
1554:
1553:
1542:
1541:
1540:
1533:
1499:Internet Archive
1439:Internet Archive
1420:Internet Archive
1394:Internet Archive
1388:Thomas Marshall
1381:F. E. Halliday,
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562:London Assurance
298:Théâtre-Français
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228:, Hand-coloured
186:before reaching
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1472:Further reading
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671:Loan of a Lover
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597:Elena da Feltre
582:Adelaide Kemble
567:Dion Boucicault
504:
488:Olympic Theatre
437:'s comic opera
349:Stephen Storace
324:Angiolo Vestris
294:Théâtre-Italien
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192:French invasion
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148:Olympic Theatre
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74:(1856-08-08)
60:3 March 1797
25:
21:Rose Vestris
1627:1856 deaths
1622:1797 births
971:pp. 148–149
915:Treccani.it
606:John Kemble
441:, (London,
431:Cherry Ripe
237: 1820
102:(1813–1817)
1566:Categories
1376:Oxford DNB
1185:(article:
1030:; and the
988:Wikisource
956:Marshall,
724:References
592:Mercadante
492:burlesques
471:The Alcaid
412:Semiramide
345:Drury Lane
276:'s operas
152:burlesques
1544:Biography
1428:Volume II
779:pp. 27–28
658:, called
600:(renamed
577:in 2010.
363:burlesque
359:Moncrieff
357:, and in
306:Corneille
244:contralto
129:contralto
88:1815–1854
1424:Volume I
1296:Pearce,
1274:, p. 980
1078:Pearce,
1069:, p. 979
1054:Bratton.
937:Voltaire
777:Pearce,
701:—
675:Paul Pry
376:breeches
374:of this
316:Mémoires
180:engraver
1530:Portals
1447:(ed.),
1337::
1155:23 July
857:The Era
683:Chorley
571:box set
527:America
406:Zelmira
258:at the
230:etching
144:manager
140:Rossini
93:Spouses
1457:
1331:
1298:passim
1146:
1080:p. 271
945:Horace
941:Brutus
667:comedy
554:Oberon
311:Horace
282:, and
274:Mozart
213:Career
207:Naples
188:Venice
184:Vienna
136:Mozart
79:London
63:London
1556:Opera
1272:Grove
1067:Grove
958:p. 41
907:, in
783:29–31
729:Notes
696:would
587:Norma
290:Paris
248:opera
1455:ISBN
1157:2019
1144:ISBN
1124:See
814:The
781:and
692:Lear
590:and
494:and
138:and
69:Died
53:Born
1370:in
1346:".
1195:by
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565:by
513:of
469:in
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