422:, located in the Rimac valley, was not a major commercial, not administrative, and not a military site during the Early Intermediate Period, being built around 400-600. Also referred to as "the dead city," Cajamarquilla is entirely built in adobe and is unique in the aspect that it is also comprised by a peculiar set of walled palaces. Cajamarquilla does ' stand out as the second biggest urban complex constructed with mud in the ancient Perú, with its 167 hectares of extension, surpassed only by the citadel of Chan Chan to the North of Lima. This site is contested to have been founded by the Huari civilization, but nonetheless was developed while the valley was under the influence of the Lima culture. This centre of regional influence was assembled by pyramids, squares, streets, rooms and mazes clearly distinguishable in the midst of an arid landscape, harshly beaten by floods during the El Niño phenomenon appearances. Nevertheless, this place sustained a very complete and dynamic civilization, as asserted by: the many human burials located in several sectors; the different decorations on objects, some typical of the valley itself, others from the rest of the Coast and others from the southern Sierra; the many underground cellars to keep food; and by the patios devoted to the production of chicha (an alcoholic beverage obtained from the maceration of corn) for celebrations.
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alpaca or llama). The particular styles of textile in Lima culture have transformed and evolved over time, yielding a variety of textile patterns throughout the culture's history. Segments of Lima culture weaved fine-looking multicolored tapestries and blankets and dyed their creations with natural dyes of which they created more than 190 different shades. At certain periods the textiles used geometric, anthropomorphous and animal designs such as birds and felines. Depicting inanimate objects as animals is a common practice in Andean art, which conveys an association between the object and the qualities that the animal embodies. Textiles would be woven for everything from everyday clothing, to ceremonial robes for religious and political elites, burial mantels and wall-hangings for temples and palaces. It is also clear that the ancient Lima culture appreciated pattern and design for its own sake, as seen in their extensive use of the interlocking pattern in their designs. In this pattern, a series of geometrically stylized animal or human figures interlock so skillfully that the same pattern appears when the fabric is looked at from upside down, and sometimes it is difficult or impossible to determine where one image ends and another starts.
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collecting the victim's blood and presenting it to a deity-like figure. From the study of iconography we can tell male and female from body shape, and thus see associated clothes, hairstyles, etc., and correlate these with activities and specific personalities. The goldwork in
Colombia portrays animals, usually birds, jaguars, caimans, sharks, probably tied in with shamanism and drug use. Birds and simulations of flight are often related to the supernatural and to hallucinations generated by snuff, coca, other drugs. Specific images that are repeated are a frontal staff bearing figure which represents either human or supernatural power. Trophy heads of slain enemies are also common, and these indicate the belief that "blood fertilized the earth" and human sacrifice was required to please the gods. A two-headed snake symbolizes "the supernatural force that maintains the harmony of the cosmos by uniting the opposed but complementary parts making it up." Special attention is also allotted to fish and sea-birds, since they were a source of food and fertilizer for the fields, and thus were the basis of life in the coastal region.
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556:, have been uncovered that clearly indicate an elite person. The amount and wealth of objects included in certain burials contrasted with the emptiness and simplicity of others make it obvious that there was an elite and privileged ruling class. It is also apparent that there was a religious ruling class, which is demonstrated by the enclosed construction of religious spaces and temples at important Huacas, meant to restrict access to the religious and political elite, which further reinforced elite power and made the rest of the population even more dependent on the instruction of the ruling class.
438:, "architect of the world and creator of all its creatures". Wak'a Pacha Kamaq was the most distinguished pilgrimage destination along the coastal region, drawing worshippers from all over Peru to render tribute and to consult the oracle. The adobe style temple, built entirely on raw mudbricks, has a raised rectangular space in front of it where pilgrims could leave their offerings. This vast religious complex is credited to the Lima culture, being initially constructed and occupied between 200 BC–AD 600. Pacha Kamaq continued to be utilized for well over the next thousand years. The
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and the urban zone were located towards the east of this wall with places presumably used for public meetings, to discuss control and improvement of production. A number of small buildings, squares, ramps, patios and storage rooms completed this part. The ceremonial sector towards the western part of the wall, contained the pyramid (made of adobe bricks, 500 metres long, more than 100 metres wide, 22 metres high) and adjacent places. In this area priests conducted religious ceremonies honoring the Gods and ancestors. The structure of this
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Preceramic and Early
Horizon Periods. This set the foundations for development of the Lima culture in the Early Intermediate. Despite the desert conditions prevailing in the coastal region, two factors enabled to areas earliest inhabitants to live off the land. First, the proximity to the sea which provided these groups with a diet of fish and shellfish. The second was the varied climate: from May to October moisture trapped by the hills fed vegetation in the slopes, which early populations could use to supplement their seafood diet.
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especially notable in architectural structures and layouts (shown in the complexes of
Pukllana, Cajamarquilla, Wallamarka, and Pacha Kamaq) as well as in contrasts in the abundance of material wealth possessed by different families. Once in power, these elite individuals must have been involved in underwriting and directing the creation of art and architecture, which further perpetuated their control over the remaining members of the group, and thus sufficiently established an elite authoritative force.
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population surplus also led movement towards the coast. This brings us to the Early
Intermediate period, where the Lima culture (among many others within a close time period) began to flourish. These cultures learned how to control nature, creating expansive irrigation systems and artificial canals. These systems provide further evidence of the sophistication of the social organization of the Lima culture, which would have been needed to construct, run, and maintain these irrigation systems.
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period (one that goes from the 3rd century to the coming of the Incas during the 15th century) the patterns of utilization and abandonment are extremely helpful in indicating the shift in funerary practices over time. This site continues to be a significant source of information for ancient burial practices of the Lima and surrounding cultures. The on-site museum today has examples of funeral bundles and the mummy of a local princess.
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dwellings, and eventually major cities and cultural centers. Elite structures on hilltops also began to occur, which would ultimately become the important Huacas of Lima culture. Near the end of the Early
Intermediate Period the Lima culture became entirely dominant. Perhaps the most important center of the culture was the wak'a of Pacha Kamaq, which would continue to be important to many cultures for the next 1000 years.
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availability, which negatively impacted crops and damaged huacas and dwellings. This marked the beginning of the decline of the Lima culture. As its people were slowly dispersed across Peru in search of better and more reliable living situations, the conglomerate of Lima culture was steadily disbanded, and new culture groups developed and dominated
Coastal Peru.
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were constructed in various ways, but the use of mold technology is evident. This would have enabled the mass production of certain forms. Ceramics of the Lima culture vary widely in shape and theme, with important social activities documented in pottery, including war, sex, metalwork, and weaving. (See
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The world view for central Andean cultures was essentially magical-religious. They saw the world as being animated by spirits, and the fertility of the land and health of the people depended on the good will of these spirits. This explains the pattern of human sacrifices found during times of drought
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Small mortars (grinding bowls), snuff spoons, and wooden tray artifacts indicate that drug usage was particularly prevalent in the Lima culture. Coca leaves were especially common, chewed as a substance to alleviate hypoxia and altitude sickness (useful in highland cultures) and to help ease hunger,
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The ceramics of the Lima culture was developed from the local red and white ceramics of the middle coast. Black, strong colouring and random negative ornament painting are typical of it. Geometric designs which represented crested snakes with triangle-heads are the common ornamental motifs. Ceramics
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culture arrived in the region around 650 and began to use the city as an administrative center for the coastal Andes. Wari influences appear in the construction of the site and on the ceramics and textiles of this period. Pacha Kamaq was so recognizably crucial to the surrounding cultures, that even
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The history of early Andean culture is essentially the story of a long process in which man learned to dominate nature, turning a desert into a green oasis. Within the
Central Coast there is a strong pattern of architectural evidence that suggests organized communal and cultural activity during the
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valleys. It can be difficult to differentiate the Lima culture from surrounding cultures due to both its physical proximity to other, and better documented cultures, in
Coastal Peru, and because it is chronologically very close, if not over lapped, by these other cultures as well. These factors all
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Since the
Ancient Peruvians never developed a system of writing, the images and signs woven into cloths or embroidered and painted on fabrics served as a pictorial language to communicate their beliefs about their world. That language has a naturalistic base but it privileges stylization, reducing
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possesses the unique addition of an impressive access ramp. It is believed that this site was a ceremonial center whose access was possibly restricted to only a religious elite, evinced by the fact that the uncovered floors show little wear from use. Since Wak'a
Wallamarka endured over a very long
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was a central archeological complex in ancient Lima culture. Also known as Wak'a Juliana, this important administrative and ceremonial center was built around 500. The Wak'a Pukllana was clearly separated by a large wall (north - south direction) into two different parts: The administrative sector
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to this day. Since these archeological sites are buried within modern-day Lima, it is difficult to access the archeological remnants that still exist without disrupting the city, which is another factor that plays a part in the modern-day enigma of ancient Lima culture. Major population centers of
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after the Inka conquest of the area it was left intact and untampered. The Inka civilization instead allowed it to exist along their own practices, adding their own style to the development. In fact the Inka sector, which was added between 1440 - 1533, remains as the best preserved section today.
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At the start of the Early Intermediate, population was focused in the upper portion of the Lurin valley, characterized by isolated free standing-houses and short irrigation canals. The population gradually expanded, moving down the valley, and utilizing longer irrigation canals to inter-connected
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Sacrifice was very common in early Andean cultures, and the Lima culture is no exception. Sacrifices would be made to pacify gods, or as part as religious and ceremonial rituals. Human burials, particularly of children, found underneath dwellings related to the belief that this class of offering
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Male and female figures, and even some that might be additional genders, as well as environmental information, plants, animals, architectural portrayals, subsistence activities, and so on are repeatedly portrayed in Lima culture. One scene that is particularly repetitive is the sacrifice scene,
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Textiles were considered a symbol of status and wealth, many mummies have been found wrapped in many layers of the finest embroidered tapestries symbolizing a person of power in society. They were constructed of a variation of fibers from plants, usually cotton, and various animal furs (usually
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In Coastal Peru, the middle group of rivers of Rimac, Chillon, and Lurin (which flow through what is now metropolitan Lima) serve as the backdrop for the culturally complex and inter-related Lima culture. Small, village scale pyramidal structures in the beginning of the Early Intermediate would
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Starting around 600, climatic and environmental changes in the Andean region were brought about by cycles of droughts and El Niño phenomenon. The Lima and surrounding cultures underwent radical reorganizations and shifting populations in order to compensate for the change in rainfall and water
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Later populations were able to develop a limited and primitive agriculture in low-lying areas, irrigated by nearby rivers and freshwater springs. During the Early Horizon Period, groups began to have the advantage of regular rainfall, and they learned how to domesticate plants and animals. A
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During the Early Intermediate Period, society in Lima culture began to transition. Cultures that were once thought to be group or "bottom-up" oriented in authoritative structure, and perhaps were, began to develop a social, political, and religious elite. Wealth and power differences became
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Empire. Being surrounded by desert, Lima needed to channel water from surrounding rivers in order to cultivate their soil for agricultural purposes. This resulted in the construction and maintenance of an extensive irrigational system, redirecting canals, and method of terracing. The Lima
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The Lima civilization was known in part for its ceramic artwork, consisting of styles such as Maranga and Interlocking patterns, which show the influence of the nearby Moche culture. Changes in this pottery style during the Middle Horizon Period also indicate influence from the
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slowly transform into the well-organized focus of the successive Lima culture. Evidence of the expansion of Lima culture in ceramics and textiles can be found in surrounding valleys, allowing archaeologists to track the progression of the culture over time.
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or flooding; sacrifices were performed to appease and show respect for the gods. This is also supported by the imagery found on ceramics and textiles depicting sacrifices for a god or deity, and tributes that were presented at temples, such as Pachacamac.
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Claims of an elite class are substantially supported by ceremonial burials and funerary practices uncovered by archaeologists. There are obvious differences in burials between members of the Lima culture. Certain sites, such as the Burial at
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serves to strongly reinforce our concepts of the authoritative composition of the Lima culture, clearly indicating a separation between the common population, the administration of the culture, and the religious leaders.
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useful in times of food scarcity. Hallucinogenic drugs, found in certain cactuses in the area, were also most likely used in religious ceremonies to induce visions, and as a method to increase closeness with the gods.
434:, noted for its great pyramidal temples and frescoed adobe walls, is one of the most important and remarkable sites constructed in the Early Intermediate Period. The shrine of this site was dedicated to the god
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would contribute to the long life of the building. This custom is still rooted in the cultural tradition of Andean communities, although human beings have been replaced by animals or special objects.
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Isbell, William Harris, and Helaine Silverman. Andean Archaeology I: Variations in Sociopolitical Organization. New York: Kluwer Academic/Plenum, 2002. Print
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culture, which overlaps with surrounding Paracas, Moche, and Nasca civilizations, was located in the desert coastal strip of Peru in the
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Keatinge, Richard W. Peruvian Prehistory : An Overview of Pre-Inca and Inca Society. Cambridge: Cambridge UP, 1988. Print.
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Moseley, Michael Edward. The Incas and Their Ancestors: The Archaeology of Peru. New York, NY: Thames and Hudson, 1997. Print.
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Silverman, Helaine, and William Harris Isbell. Handbook of South American Archaeology. New York, NY: Springer, 2008. Print.
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help contribute to the obscurity of the Lima culture, of which much information is still left to be learned.
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Kipfer, Barbara Ann. Encyclopedic Dictionary of Archaeology. New York: Kluwer Academic/Plenum, 2000. Print.
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is only a little smaller than Wak'a Pukllana, and is similarly an adobe scaled pyramid, but this
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697:"Pachacamac (archaeological Site, Peru)." Encyclopædia Britannica Online. 8 March 2012.
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660:"Lima Archaeological and Historical Sites." Welcome to Peru. Web. 6 March 2012. <
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http://www.hostellacasanostra.com/hostel-lima-peru/archeological-lima-peru.html
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Bottle NieverĂa sculptural style represents a snake. Larco Museum, Lima - Peru.
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Higgins, James. Lima: A Cultural History. New York: Oxford UP, 2005. Print.
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Wak'a Pukllana and characteristic adobitos. Miraflores District, Lima
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Population history of the Indigenous peoples of the Americas
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was an indigenous civilization which existed in modern-day
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Playa Grande cup style, decorated "interlocking". MNAAHP.
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Painting in the Americas before European colonization
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2043:Notable Rulers
2040:
2039:
2034:
2029:
2024:
2019:
2015:
2014:
2012:Neo-Inca State
2005:
2000:
1995:
1990:
1986:
1985:
1980:
1975:
1970:
1965:
1961:
1960:
1955:
1950:
1945:
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1936:
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1925:
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1915:
1911:
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738:
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508:
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479:
476:
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467:
461:
458:
448:
445:
427:
424:
415:
412:
398:
395:
385:Wak'a Pukllana
373:
370:
368:
365:
347:
344:
277:
276:
271:
267:
266:
263:
262:
259:
258:
251:
242:
239:
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236:ChavĂn culture
233:
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205:
204:
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200:
194:
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188:
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178:
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164:Historical era
161:
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127:
126:
122:
121:
114:
113:
55:"Lima culture"
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
2331:
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2178:
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2166:
2161:
2158:
2155:
2150:
2145:
2140:
2136:
2133:
2130:
2129:Hernán Cortés
2125:
2122:
2118:
2115:
2111:
2107:
2103:
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2096:
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2090:
2086:
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2078:
2075:
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2033:
2030:
2028:
2025:
2023:
2020:
2016:
2013:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1987:
1984:
1981:
1979:
1976:
1974:
1971:
1969:
1966:
1962:
1959:
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1937:
1934:
1931:
1929:
1926:
1924:
1921:
1919:
1916:
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1779:
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1702:
1699:
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1471:
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1456:
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1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1386:
1383:
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1378:
1376:
1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1351:
1348:
1346:
1343:
1341:
1338:
1336:
1333:
1331:
1328:
1326:
1323:
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1318:
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1313:
1311:
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1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1186:
1183:
1182:
1180:
1178:
1177:South America
1174:
1168:
1165:
1163:
1160:
1158:
1155:
1153:
1150:
1148:
1145:
1143:
1140:
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1133:
1130:
1128:
1125:
1123:
1120:
1118:
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1110:
1108:
1105:
1103:
1100:
1098:
1095:
1093:
1090:
1088:
1085:
1083:
1080:
1078:
1075:
1073:
1070:
1068:
1065:
1063:
1060:
1058:
1055:
1053:
1050:
1048:
1045:
1043:
1040:
1038:
1035:
1033:
1030:
1028:
1025:
1023:
1020:
1018:
1015:
1014:
1012:
1010:
1006:
1000:
999:Weeden Island
997:
995:
992:
990:
987:
985:
982:
980:
977:
975:
974:Poverty Point
972:
970:
967:
965:
962:
960:
957:
955:
952:
950:
947:
945:
942:
940:
939:Mississippian
937:
935:
932:
930:
927:
925:
922:
920:
917:
915:
912:
910:
907:
905:
902:
900:
897:
895:
892:
890:
887:
885:
882:
880:
877:
875:
872:
871:
869:
867:
866:North America
863:
857:
854:
852:
849:
847:
844:
842:
839:
837:
836:Paleo-Indians
834:
833:
831:
827:
823:
816:
811:
809:
804:
802:
797:
796:
793:
781:
778:
772:
769:
763:
760:
754:
751:
745:
743:
739:
733:
730:
724:
721:
715:
712:
706:
703:
699:
694:
691:
685:
682:
679:
676:
670:
667:
663:
657:
654:
648:
646:
642:
636:
633:
627:
624:
618:
616:
614:
612:
610:
608:
606:
604:
602:
600:
596:
590:
588:
584:
578:
575:
568:
566:
559:
557:
555:
549:
542:
540:
533:
531:
524:
522:
515:
513:
506:
504:
502:
492:
484:
477:
475:
468:
466:
459:
453:
446:
444:
441:
437:
433:
425:
423:
421:
420:Cajamarquilla
414:Cajamarquilla
413:
411:
408:
404:
394:
391:
386:
378:
371:
367:Major centers
366:
364:
360:
356:
352:
345:
343:
341:
337:
336:Cajamarquilla
333:
329:
324:
320:
319:
313:
307:
304:
300:
296:
292:
288:
284:
275:
272:
270:Today part of
268:
252:
250:
247:
246:
243:
237:
234:
227:
226:
223:
222:
219:
216:
214:
211:
210:
206:
202:
195:
182:
169:
166:
162:
159:
156:
152:
145:
140:
128:
119:
110:
107:
99:
96:November 2008
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: –
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
2290:
2268:
2201:
2051:Moctezuma II
2008:Inca history
1933:Andean Music
1877:Architecture
1872:Architecture
1867:Architecture
1862:Architecture
1858:Architecture
1852:Gender Roles
1597:Tenochtitlan
1520:Timoto–Cuica
1515:Tierradentro
1394:
1300:Casma–Sechin
1032:Chalcatzingo
780:
771:
762:
753:
732:
723:
714:
705:
693:
684:
678:
669:
656:
635:
626:
577:
563:
550:
546:
537:
528:
519:
510:
497:
472:
463:
429:
417:
406:
400:
389:
383:
361:
357:
353:
349:
316:
308:
283:Lima culture
282:
280:
249:Wari culture
218:Succeeded by
217:
212:
102:
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
2114:TĂşpac Amaru
2098:Manco Cápac
2047:Moctezuma I
1958:Agriculture
1953:Agriculture
1948:Agriculture
1939:Agriculture
1882:Road System
1771:Mathematics
1636:Muysc Cubun
1490:San AgustĂn
1440:Monte Verde
1117:Teotihuacan
1009:Mesoamerica
904:Coles Creek
889:Anishinaabe
846:Archaeology
525:Iconography
436:pacha Kamaq
432:Pacha Kamaq
340:Pacha Kamaq
303:Lurin River
213:Preceded by
2297:Categories
2085:Tisquesusa
2059:Cuauhtémoc
2055:Cuitláhuac
1385:Lauricocha
1355:Gran Chaco
1345:Cupisnique
1330:Chinchorro
1305:Chachapoya
1295:Caral–Supe
1137:Tlaxcaltec
1127:Teuchitlán
1042:ChupĂcuaro
969:Plum Bayou
964:Plaquemine
934:Marksville
899:Chichimeca
569:References
426:Pachacamac
418:The Wak'a
332:Wallamarka
287:Lima, Peru
66:newspapers
2106:Atahualpa
2102:Pachacuti
2077:Nemequene
1943:Chinampas
1765:Astronomy
1754:Astronomy
1734:Mythology
1729:Mythology
1724:Mythology
1719:Mythology
1715:Mythology
1545:Wankarani
1535:Tuncahuán
1425:Marajoara
1380:Las Vegas
1266:Atacameño
1162:Xochipala
1102:Purépecha
1062:Epi-Olmec
1052:Cuicuilco
994:Troyville
984:St. Johns
534:Sacrifice
507:Cosmology
291:pre-Incan
2202:See also
2120:Conquest
2093:Zoratama
1760:Calendar
1749:Calendar
1744:Calendar
1740:Calendar
1709:Religion
1704:Religion
1693:Religion
1682:Religion
1678:Religion
1667:Numerals
1661:Numerals
1622:Language
1602:Multiple
1540:Valdivia
1525:Tiwanaku
1485:Saladoid
1480:Quimbaya
1370:Kuhikugu
1350:Diaguita
1340:Chorrera
1157:Veraguas
1152:Veracruz
1132:Tlatilco
944:Mogollon
851:Cultures
829:Americas
516:Drug use
478:Ceramics
460:Textiles
372:Pucllana
328:Pukllana
2089:Tundama
2018:Peoples
2003:History
1998:History
1993:History
1989:History
1983:Cuisine
1978:Cuisine
1973:Cuisine
1968:Cuisine
1964:Cuisine
1822:Warfare
1817:Warfare
1812:Warfare
1808:Warfare
1802:Society
1797:Economy
1786:Society
1781:Society
1777:Society
1647:Writing
1641:Quechua
1626:Nahuatl
1593:Capital
1530:Toyopán
1510:Tairona
1420:Mapuche
1335:Chiripa
1310:Chancay
1281:Cañaris
1256:Amotape
1251:El Abra
1167:Zapotec
1147:Totonac
1122:Tepanec
1107:Quelepa
1077:Mezcala
1067:Huastec
1037:Cholula
1027:Capacha
1022:Acolhua
979:Sinagua
954:Patayan
924:Hohokam
914:Fremont
560:Decline
295:Chillon
154:Capital
80:scholar
2032:Muisca
2027:Mayans
2022:Aztecs
1656:Script
1651:Script
1611:Bacatá
1582:Muisca
1465:Pucará
1460:Piaroa
1455:Paiján
1450:Omagua
1405:Lupaca
1400:Lokono
1365:Kalina
1360:Huetar
1320:ChavĂn
1315:Chango
1290:Nariño
1286:CapulĂ
1276:Calima
1271:Aymara
1261:Arawak
1142:Toltec
1092:Olmecs
1087:Nicoya
1082:Mixtec
1057:Diquis
959:Picosa
949:Oshara
919:Glades
909:Dorset
430:Wak'a
338:, and
318:wak'as
82:
75:
68:
61:
53:
2037:Incas
1928:Music
1923:Music
1918:Music
1914:Music
1847:Women
1842:Women
1837:Women
1833:Women
1791:Trade
1672:Quipu
1616:Cusco
1607:Hunza
1572:Aztec
1505:TaĂno
1500:Sican
1495:Shuar
1445:Nazca
1435:Mollo
1430:Moche
1410:Luzia
1325:ChimĂş
1097:Pipil
1072:Izapa
1047:Coclé
989:Thule
879:Adena
664:>.
554:Sipán
407:wak'a
390:wak'a
299:Rimac
87:JSTOR
73:books
1827:Army
1609:and
1587:Inca
1577:Maya
1555:ZenĂş
1550:Wari
1395:Lima
440:Wari
323:Lima
312:Wari
301:and
281:The
274:Peru
158:Lima
133:100–
123:Lima
59:news
1908:Art
1903:Art
1898:Art
1893:Art
1889:Art
199:650
186:100
137:650
42:by
2299::
2146:)
741:^
644:^
598:^
586:^
503:)
342:.
334:,
330:,
297:,
197:c.
184:c.
135:c.
131:c.
2190:)
2186:(
2179:)
2175:(
2173:)
2169:(
2167:)
2163:(
2156:)
2152:(
2142:(
2131:)
2127:(
1884:)
1880:(
1793:)
1789:(
1767:)
1763:(
1756:)
1752:(
1700:)
1696:(
1689:)
1685:(
1663:)
1659:(
1288:/
814:e
807:t
800:v
784:.
748:.
727:.
718:.
709:.
700:.
688:.
673:.
639:.
593:.
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
