A DAY AT PISA
By LADY BLANCHE MURPHY
 GENERAL VIEW OF THE CITY OF PISA. | A COMMERCIAL town to be beautiful must be very old. Leghorn is a living proof of this, and no drearier, uglier, less-inspiring city exists in all Italy. It is that anomaly in Italy, a new town - a town with a history which begins long after that of the great Italian municipalities had ceased, and which can boast of religious toleration. In fact Leghorn - a small village in the middle of the sixteenth century - was created by the policy of the Medici, a rival to Genoa, and a refuge for merchants of persecuted religions throughout Europe. |
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English Catholics, Spanish and Portuguese Jews, and French Huguenots crowded to Leghorn, and lived at peace with one another; while gradually wharves, quays, warehouses, and piers grew up round the harbor. A synagogue, founded in 1581, but remodeled in 1603, rose amongst the Christian churches; a lighthouse was built on the outer pier, and a bathing establishment was added to the conventional advantages offered by the modern settlement. The trade at present is second only to that of Genoa in importance and magnitude, the chief imports being cotton, wool, and unbleached silk from the Levant, and grain from the Black Sea. The home industries are the coral manufacture, and a trade ill oil. "Leghorn Hats " do not figure in any present commercial report, and we must suppose that the name of these once fashionable and ever-useful articles is an arbitrary one. A more hopeless place than Leghorn for the artist or the tourist does not exist in Italy. Flourishing, populous, rich, well-built, it is also white, uniform, and ugly. The churches themselves are tawdry, third-rate, disappointing. The shops are brilliant, Parisian, and unpicturesque. The people are brisk, matter-of-fact, and of mixed breed. The pleasures are cockney - you might think the ghosts of the bands of Brighton or Long Branch were revived in the band which plays every evening on the beach during the bathing season; the reading-room or club, the hotels, the cafes, are all distressing copies of smart French models. The houses are white, rectangular, and monotonously alike; and you escape with a sigh of relief into the equally modern railroad carriage, which will carry you in a quarter of an hour to Genoa's ancient, stately, and once successful rival, Pisa. Many people think Pisa the synonym for dullness; they have spent a Winter there - for it is full of English and American residents, the climate being especially suited for invalids, and good for all lung diseases. The proud, Crusading, maritime Republic, whose medieval prosperity lasted long enough to crowd its capital with fine buildings and works of art, subsists to-day chiefly on its colony of foreign invalids, and the hotels and surroundings which such a colony involves. To people who got here for health, and can only take the air at stated times and in stated proportions, it may seem a dull place; what would they think, however, of the inner towns of Umbria; the unexplored mountain towns of the Apennines ; the historical, sleepy market towns of the Romagna ? Each of these is a treasure to the artist, and a delight to the antiquary. In bne you find a library, valuable and obscure, hidden in a monas- tery ; in another a sa1Jant, often a priest, whose resources astonish you, and who is content to spend his life without making a noise in the world, and at most, using his learn- ing for the benefit of some strayenthusiast from the North; in another, you discover a collection of manuscript music of days anterior to Palestrina, in the possession of a local musician as poor as he is learned. |
 IN THE CAMPO SANTO, PISA. |
Much as there is to be discovered under the mounds that mark buried cities in Greece, Egypt, Mesopotamia, and Palestine, there is as much treasured in silence or in ignorance throughout the minor towns, and especially the less-visited monasteries of northern and central Italy. To all this, Pisa is by comparison a gay and giddy capital.
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For two centuries Pisa ruled the Mediterranean, fought the Infidel on the African, Sicilian and Italian shores, conquered Sardinia and the Balearic Islands from the Saracens, and claimed sovereignty over all the Mediterranean islands from La Spezia to Civita Vecchia. In the Ghibelline wars she took the Emperors' side,' rather to, spite Guelphic Genoa and Florence than from principle; and when the Guelph, or national, party triumphed, she suffered accordingly. Her zeal against the Saracens did not entail devotion to the Papal court, and by the influence of the latter she lost Sardinia, which fell by Papal investiture to the Kings of Aragon, and Corsica, which Genoa claimed as the spoils of the victor after a defeat of the Pisans at sea near Leghorn, where they lost twenty-nine galleys, and saw seven more sunk by the Genoese. The beginning of the fourteenth century saw the decline of the Republic, which was afterward torn by factions, sacked and ransomed by rival mercenary captains, and finally sold to the Medici, in whose possession it remained until the French Revolution. After that, and until the incorporation of Tuscany into the Kingdom of Italy, it still counted as a Tuscan town. One episode of the civil wars of early days was made immortal by Dante ; and the famous "Tower of Hunger," the scene of the ghastly death by starvation of Count Ugolino dei Gherardeschi, with his sons and nephews, stood, as late as 1655, opposite the palace-convent of the Knights of St. Stephen, an ancient military Italian Order, of the same kind as the Orders of Templars and of the Knights of Malta. The church adjoining the convent is a fine Renaissance building, a little florid and redundant in detail ; but such things pass away from one's mind when one looks at the Turkish trophies brought from the fight of Lepanto, which is commemorated, among other victories over the Turks, by frescoes on the ceiling. This Piazza dei Cavalieri was the heart of the old city, and the forum of the previous Roman Republic, named by Augustus, "Colonia Julia Pisana"; while the Church of San Sisto, also a national monument of several victories won over the infidel, stood almost on this Piazza, and was frequently used by the stouthearted Great Council as a place of assembly. It would be impossible to count and describe half the churches, mostly thirteenth and fourteenth century buildings, with their multitude of fine pictures; their ancient crypts, as that of San Michele in Borgo, supposed to occupy the site of an old heathen temple; their cloisters and bell-towers as those of San Francesco; or the Church of the Holy Sepulchre, a small, octagonal bmlding, rich with carving; or that of Santa Maria della Spina, a small, beautiful strucimre, not unlike the Sainte Chapelle at Paris. A portion of the Crown of Thorns is said to be preserved in the treasury, and gives its name to the church, whose tapering spire and pinnacles make it a very prominent object on the river quay. It seems to rise almost from the water, when you stand and look at it from the opposite side of the Arno, which at this point is as narrow and sluggish as a canal. The Spina, as it is familiarly called, was built in 1230, in fulfillment of a vow, by two Pisan families, the Gualandi and the Gattosi, for sailors about to put to sea, and was enlarged a century later, as well as embellished with bas-reliefs by Pisaan sculptors. Both it and the relic of the Crown of Thorns are trophies of the Crusades, and tokens of what chiefly raised Pisa to its temporary sovereignty. I have dwelt on this church rather than on the many others in the city, because, excepting the Cathedral, it is the one which struck me most, and left the most distinctive impression on my memory , among the many sights which had to be crowded in during a short day. The coast steamers from Genoa to Rome used to make their journeys by night, stopping at Leghorn during the intervening day; and it was in this interval that we visited the city of Galileo. Many remembrances of the great astronomer are interwoven throughout the sights of Pisa; here, on the quay named after him, the Lung-Arno Galileo, still stands the house where he was born, in 1564 ; there the university, or La Sapienzer (wisdom), as many Italian universities were called, where, in 1610, he was appointed Professor of Mathematics, and which building, dating from the year of the discovery of America, includes the court where he often walked, the library where he sometimes studied, the Museum of Natural History and the Botanical Garden, which already, in his time, illustrated the botany, geology and ornithology of Tuscany, as well as, by isolated specimens, that of more tropical climes. The Piazza del Duomo has its own Galilean traditions, for it is said that he made use of the oblique position of the famous Leaning Tower in some of his experiments regardiug the laws of gravitation; while the swaying of the great, bronze lamp in the nave of the cathedral first suggested to him tho notion of the pendulum. To those who, like the writer, consider the thirteenth and fourteenth centuries the Golden Age of Gothic architecture, Pisa is a very alluring place, having less of the Renaissance coating than any other Italian town of its size and importance. Few succumbed so early, and few were as proportionately successful at such an early period. The works of art and religion that marked the time, remained almost the only ones, for lack of time or means to supplement them later, when internal factions and a foreign yoke - for to the Italian of the Middle Ages his neighbor and fellow-countryman was politically a foreigner - crushed out the energy and dispersed the wealth of Pisa. For the medievalist, this is decidedly an advantage; for the historian, it insures a fuller illustration of one special phase of political existence than is found in other cities whose buildings illustrate the whole range of their history, yet often leave each one but scantily represented in detail. Passing to the Cathedral, with its attendant buildings, we cannot help stopping to look in at the shop windows. The display of oggetti d'arte is certainly tempting. Alabaster models of the Leaning Tower and the Baptistery, marble statuettes - classic and Christian; corals in fantastic shapes from Leghorn, etc. , take their place among jewelry, Łor in Italy the jeweler does not confine himself to the sale of personal ornaments; he finds everything that can beautify common life, and make one's surroundings suggestive of culture, within his province. In Rome, for instance, there is a large traffic in bronze lamps - not merely for show - made on the model of the classic lamps of old tombs; and if you want to buy a flower-vase, you will have no barbarous, gaudy glass or china cup, fresh from the cheap French factories, offered you, but a marble tazza, a miniature copy of the "dirinking-cup of the doves," or some model of a vase recently dug from the Baths of Diocletian. The Duomo is undoubtedly one of the most distinctive churches in all Italy. We got there early enough to hear Mass, and there is something specially suggestive to a foreign visitor, in thus being able to see, and join in, the actual life of the cathedral, as well as to admire it artistically. There is a difference between the sight of a cathedral, as a mere monument of the past, and as a living house of prayer. Pisa, however, has given the whole world an interest in her church, which, to the mind of many, is far finer than St. Peter's. The main building is nearly pure Romanesque, the only national style in Italy, and the distinct outgrowth of Christianity; but unity of design could not be expected throughout, especially when it is remembered that, like most old churches, a great fire attacked it in 1596, and left the door open to the fanciful innovations of the pseudo-classic mania. This accounts for the overladen altars, the gaudy mixture of gilding and colored marbles, the redundance of statues and the blaze of silver plates and arabesques in certain parts of the church, but the general impression is magnificent, sombre and majestic. The roof mosaics, by Cimabue and various of his pupils, are the most worthy of notice among the interior ornamentation, even though the gigantic Madonna and Child over holy-water basin, and the designs of the twelve nave altars, as well as the capitals of two porphyry columns under the dome, all bear the name of Michael Angelo. The Byzantine figure of Christ, in mosaic, standing between the Blessed Virgin and St. John, seems to look upon the church as from His throne above; his expression is calm and yet merciful, for it seems as if mosaic were incapable of being made to express passion of any sort, or sentimentalism of any shade. The size of the figure, too, like that in the apse over the Bishop's throne at St. Paul's, at Rome, is symbolic, according to the simple tradition of pre-Raphaelite art, of the immeasurable exaltation of the God-man above all things and creatures of earth. But the real grandeur of the church lies not in its rich altars, and its innumerable pictures and statues, nor even its antique choir stalls, with their apostles, landscapes and animals, etc., but rather in its walls and columns, and its incomparable facade. Indeed, the interior, if less cut up into chapels, would be more imposing. The nave and double aisles are supported by sixty-eight ancient Roman and Greek columns, captured by the Pisans in war; for the whole church is a national votive offering, built to commemorate the great naval victory of Palermo over the Saracens in 1063. Pope Gelasius II consecrated it in person in 1118. Over the columns is a kind of clerestory, apparently with some accessible tribunes and galleries, all of white marble, inlaid with occasional black and colored marbles. The roof is flat, and the ceiling coppered and gilded. The only ancient gate remaining is one in the south aisle, dating from the time of the consecration, and representing twenty-four Scriptural scenes in as many bronze panels. The present gates, also carved with similar scenes, are of the early seventeenth century. |
 THE BAPTISTERY, PISA. |
The view from the Piazza is one none can forget. The group of buildings clustered around the Cathedral, yet not crowding it, as some of the Gothic cathedrals of France, Germany and England are crowded, is certainly striking; yet the massive facade takes your eye, and compels your undivided attention. Tier upon tier of columns and arches mask the lower wall, and above them four open galleries, gradually diminishing in length, lead the eye to the carved cross on the summit. |
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Beyond this the bluesky - when I saw it, at least - made a sharp, definite background, very suitable to the bold, heavy lines of the whole, framing within them the simple, yet elegant, mass of columns. Nowhere but in Italy do you see this characteristic style, always associated with basilica-worship, and tracing its descent from the first public Christian churches in the fourth century.
All the oldest churches in Rome are, internally, on the same plan, though the outer architecture proper to the Romanesque period dates from the eighth century only; and in some of the smaller - St, Clement's, and St. Nereus and Achileus's, for instance - the traditions of the earliest ritual are still distinctly preserved in the disposition of the altar, lectern, pulpit, apse and choir-inclosure. The Baptistery stands rather on the right as you leave the church, and is a feature seldom reproduced in other cities almost as rich, architecturally, as Pisa. Its solid white-marble mass seems like a dome lifted off a cathedral and dropped on the ground. Like the church and the bell-tower, it is surrounded by half-columns below and a gallery of smaller detached columns above, from which rises a conical dome, with occasional bas-reliefs. The interior is reached by four doors, two of which still retain twelfth-Century marble panels, sculptured; and the arrangement inside is very simple and beautiful. Eight columns and four pillars support a triforium, and surround a white-marble octagonal font raised above the level of the floor, and adorned with carved and mosaic panels. On one side stands the hexagonal pulpit, borne by several dwarf columns, and covered with bas-reliefs by the foremost of Pisan sculptors, Niccolo Pisano. Both Baptistery and Campanile (the well-known Leaning Tower) are later by one century than the original part of the Cathedral, and the Tower was only finished two centuries after its foundation. It is belted round with eight tiers of small half-columns and colonnades, and has a winding staircase of nearly 300 steps, leading to the platform, whence the view of the sea on one hand, the mountains on the other, the flat meadows and the winding Arno below, is very beautiful. The Tower has only seven bells. The Campo Santo, or Holy Field, is a burymg-ground, to fill which fifty-three ship-loads of earth were brought from Mount Calvary by Ubaldo, Archbishop of Pisa in the years 1188 to 1200, has a large place in my remembrance. The Gothic tracery of the sixty-two windows, dating from the end of the thirteenth century, looking from the cloisters on to the green quadrangle, is singularly perfect; each line and curve, if carried geometrically to its conclusion, tending to form a perfect circle. The place is such a museum of heterogeneous antiquities, classic and medieval, Roman sarcophagi, mutilated statues of heathen deities, funeral tablets old and new, that an enumeration would prove nothing but a catalogue; whereas, a little detail concerning a few representative objects will give a far clearer idea of the whole. The pavement of the cloisters is of tombstones, and the walls opposite the arched windows are covered with frescoes, some of which proved to the writer the most interesting featnre of the Campo Santo. On the north wall, a pupil of Fra Angelico, Benozzo Gozzoli, has left the record of his long years' stay at Pisa - from 1469 to 1485 - and continued the History of Genesis, whose earlier scenes were naively painted by Pietro di Puccio, of Orvieto, nearly a hundred years before. The practice of introducing portraits of celebrated men of the time, however inaccurate in an artistic point of view, has some advantages for us; for, here, among the builders of Babel, we have a series of portraits of the Medici - Cosmo, his son Pietro and his grandsons Lorenzo and Giuliano; the same whose unfinished monument in Santa Croce, at Florence, has inspired so many modem writers and poets. The histories of David, Solomon and the "Queen of the South" gave scope for a certain quaint wantonness and magnificence of manner, the introduction of strange beasts, a half-Oriental, half-imaginative wealth of gilding and color, and general extravagance; while that of Joseph and his brethren - which became the painter's funeral memorial, as he was buried just below it - is enriched by many a portrait of merchants, statesmen and ecclesiastics, whose presence tells of a grudge entertained, a benefit received, or a bit of satire indulged in by the clever artist, whose final appeal was to posterity. The early Italian painters had a genius for allegory, and the subject of the "Triumph of Death" - Christian in one sense only - was a not unusual one. Here, on the south wall, it is treated less grimly than in the terrible freecoes of the Bridge of Zurich, yet vigorously and in a solemn-humorous manner that fascinates yon against your will. Such imaginative scenes as this, the "Last Judgment " and "Hell," are more interesting than mere historical, or even legendary, subjects. Albert Durer might have rivaled the group of three horsemen on their way out hunting, who suddenly stumble over three open coffins. Conspicuous among these frescoes is the so-called Orcagna, representing the Last Judgment. Modern criticism has denied that Vasari was right in attributing this and "Hell " to the Orcagna brothers; but whoever may be the author, the tradition that he was Dante's friend and follower, will fit him equally well. To anyone familiar with the "Inferno," there is decidly a Dantesque cast in these huge, gloomy, lurid stretches of color. The "Last Judgment," to an uncritical and fairly impressionable observer, is terrible to look upon; bolder and wilder, while more ingenious in its conception, than Michael Angelo's in the Sistine Chapel; very medieval in its details; very realistic and yet grotesque (which grotesqueness rather increases horror than provokes mirth): and above all, very full of symbolism - the outcome, in a word, of a powerful imagination and an awfully earnest faith. There is no background, no attempt to portray some convulsion of nature, or some thousandfold intensified darkness or storm, such as we should expect of any modem painter who should take up this theme. The drawing is stiff, the anatomy imperfect, but the individuality of the artist is prominent. Art was not retrospective as it has become now; painters were content to blunder sometimes in their eager pursuits - not of conventional perfection, but of their own ideal; and if there was less grace, there was certainly morevigor. To copy their predecessors was not their aim - to make themselves more worthy of being copied by their successors was their ambition. |
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The fearful devils of Orcagna's "Last Judgment," the palpably realistic shovels and forks, and the bold censure implied by placing ecclesiastical dignitaries in their robes of office among the condemned on the Judge's left hand, are so many t.okens of the uncompromising self-assertion of infant art. There is no euphemism - opinion is as
vigorously outspoken on canvas, as faith and its strong practical hold on the mind of the artist is quaintly expressed.
Modern critics stand before this fresco not shuddering at the terrors which its satyrs, its griffins, its literal " jaws of Hell " belching forth fire and sucking in naked sinners, are intended to inspire-but coolly picking its details to pieces, and debating wbether to call its realism superstition or satire. |
 CURIOUS TOMB IN THE CAMPO SANTO, PISA. |
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I think it is neither. The painter believed in and feared what he painted - not the heathen monsters, which were but recognized artistic forms of evil in his day, but the awful meed of inexpressible torment which they denoted. Not even the people who pointed to Dante and whispered, shudderingly, " There goes the man who has gone down to Hell!" believed in the material varieties and refinements of torture so minutely described by him; but the belief in future punishment in some form was part of their life. Again, the author of this pictured warning could have been no unbeliever, laughing in his sleeve at the fright he must cause the peasants, when they came up to market, and wondered over the new marble colonnade; or silently carried off a handful of the holy earth to preserve for their own poor coffins, so that their heads at least might rest on the soil for which Crusading Pisa had fought so fiercely. Akin to these subjects were the temptations of the Hermits of the Thebaid, by two Florentine brothers, Lorenzetti, where dreadful shapes of devils dance before the anchorites buried in their caves. St. Nanieri, the patron saint of Pisa, has a series of frescoes devoted to his life; and St. Ephesus, a R o m a n general and martyr, whose statue, formerly a classic one representing Mars, now stands in the Cathedral, has another. There are a few modem monuments, which come upon one with a sense of incongruity in this essentially old-world cemetery, although the sculptor of one of them, Thorwaldsen, is worthy of a place beside Phidias himself. This monument consists of a group - Tobias curing his father's blindness, and is in honor of the oculist, Andrea Vecca, who died in 1826. Two more modem celebrities are commemorated, the fabulist and litterateur, Professor Lorenzo Pignotti (d. 1812), and the singer, Angelica Catalani (d. 1849). Among the miscel- laneous articles of interest stored in this national museum, are the chains of the ancient harbor of Pisa, captured by the Genoese in 1632, and restored only eighteen years ago, when both cities became joint parts of the new kingdom of Italy. As usual in Italian cities, the environs are full of villas, gardens, ruins. A pine wood, a mile and a half from Pisa surrounds what is now a royal shooting-lodge, but once a teeming garden and farm belonging to the Medici, and now a common resort of the population on fine evenings ; while three miles north of Pisa is the little bathing-place, Il Gombo,whereShelley was drowned. On the old post-road to Leghorn, stands a very old basilica, San Pietro in Grado, built in the tenth century, and still possessing some of its original columns and capitals. Here, says tradition, is the spot where St. Peter first landed in Italy, and consequently, the ancient shrine was at one time an often-visited goal of pilgrimage. Moreover, it stood almost within the harbor, and at the estuary of the Arno ; althongh at present the coast-line has been so changed by Iilluvial deposits, as to put a belt of nearly six miles between Pisa and the sea, as has happened to many a. similar place in the south of France. Five miles inland, on the other side of the town, are the Pisan hills - monti Pisani - covered with chestnut groves, and crowned by one mountain nearly 2,000 feet high, on which stand the ruins of a fifteenth century stronghold. Down in one of the many abrupt, picturesque hollows, called the Valle dei Calci, or the Valley of the Barefooted, lies the Carthusian Abbey, built in the year 1367. This we had no time to visit; but though It is not fair to give an imaginary picture, we can almost reproduce the best features of the monastery from the analogy of others of the same Order-an Order distingnished by its love of beautiful spots and its lavish encouragement of religious art. The very words "LaCertosa" conjure up scene of mountain beauty, rocks covered with clinging shrubs and vines, tuŁts of old trees making a rampart of green; a prosperous farm sheltered by the high ml~l!, a marvelous greensward, and within the building, elaborate carving and a monster library. Add to this, one of the 'most' statuesque costumes in the world, for the heavy, yellow-white folds of the Carthusian habit suggest rather; a figure stepped down from an antique tomb than a common man. |
 THE CATHEDRAL AND CAMPANILE, PISA. |
Although Rome was our destination, I do not think the Eternal ,City made half the instant impression upon me which Pisa did. Grander in her history and her destiny, cosmopolitan in her interests and her influence, central as regards religion, imperial ,as regards ceremonial, she yet has an outer modern shell which Pisa has not; and the beauty of Pisan architecture is also of a less mixed type, which went for much in the estimate of one of the school of Pugin. |
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In Rome you have to hunt carefully after the relics of Early Church ritual, and the buildings of Constantinian era, while the flaunting riches of the sixteenth century and the half-pagan vail thrown over the Church by her gorgeous Renaissance patrons and decorators, dazzle and bewilder you. This grievance meets you everywhere, most of all at St. Peter's, and the memory of the Pisan churches comes as a refreshing substitute. |
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At least that is how I look back upon the contrast at present, when time and distance have only intensified my appreciation of the city on the Arno, while they leave me more and more indifferent to Rome, with all her memories and greatness. |
 THE BANKS OF THE ARNO. |
Sir, I noted on the page you mounted, of Lady Blanche Murphy writing about Pisa, your Email address. It happens that I live in the "Lady Blanche House" outside North Conway, New Hampshire, and have had the privilege since 100 years to the day that she died within its walls in 1881. Lady Blanches' glamour has wiped out of common memory a rather important other distinction: The house was erected in 1790 by the Willey family which in 1826 moved up the Saco River (which runs through our property) to the foot of Crawford Notch, a pass that opened up trade with Vermont and Canada, to build and run a hostelry. The entire family was wiped out in 1826 by a mudslide. This tragedy in the eyes of our then-young nation was slow to leak out, but (this was before the telegraph) when it did, various publications sent artists up to the dramatic scene to sketch it for publication. This led directly to the formation of the White Mountain School of Art (same as the Hudson Valley School) and led people to start visiting the area, creating one of America's first vacation sites. |
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Not 100 feet from where I type this, on the road since 1976 stands a large
cast-metal sign installed by the state historical society, recapping the
story of Lady Blanche. The photo of the house is taken from the same document, also from 1976. You will note in the background, to the upper right, a massive rock. This is the end of a mountain chain scraped off by a glacier 25,000 years ago, which created the Mount Washington Valley. Called Humphrey's Ledge, it stands about 1600 feet tall, though only 800 feet show from the house. 
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New Hampshire Historical Markers Bartlett (109) 1976 LAY BLANCHE HOUSE This rustic cottage was once the home of Thomas Murphy and his wife, Lady Blanche, daughter of the Earl of Gainsborough. Thomas was the organist at the church on the Earl's estate. The commoner and lady eloped to America, where Thomas taught at the Kearsarge School for Boys in North Conway. Lady Blanche, a noted writer and contributor to such publications as Harper's and The Atlantic Monthly, died here in 1881. Located on the east side of West Side Road, about 3 miles north of its intersection with US 302 (in Conway) and .5 mile north of the Conway-Bartlett town line. Published by The New Hampshire Division of Historical Resources 8th Edition 1989 |
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But that interesting set of details aside, I really write to inquire if you
have other pages of Lady Blanche's work on the Net elsewhere. Thanks for your good work. Gaylord Briley Box 190 Glen, NH 03838-0190 |
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