From a vessel of mercury stained with Cinnabar, they brought next to Vas Auric, an ocher figure from the environment posed by the sarcophagus, to the detriment of the meats that resisted the Larnax or ash sarcophagus that came in other larnakes from Persia. The colors were specified in nature from a new terrarum upon the arrival of this prehistoric substance, in Neolithic pride, as it shone in the ceramic that they had been climbing from the hill of Patmos. Post-mortem, they were aedicules that were already established with pecuniary obols, to coin the solidity of the disputed and risky lands of the Camels; Gaugamela in the ambages of the bodies that must have remained standing, but with their staunch resistance they ended up colored by the ocher of cinnabar, and the rust of camels looking for traces of the mercury trickery that snatched them in the fleshless tombs, in thick and vivid sight of the Ghosts of Shiraz, who mostly accompanied him from their stagnant warehouses in Jaffa. In the northern Governorate of Zefian, the bodies from the Tel Gomel siege, in particular the Cinnabar embalming funeral company and mobile, came alongside Wonthelimar as pieces of Lord Hades' grave goods, mutilating the diaphragm with little light than in any eye that could observe, binding to HgS sulfur; Cinnabar that was already decanting from the last reduced specimen in the Hellenika Necropolis, Kímolos. Being ocher that glowed, and was complemented by the hyper chlorinated red blood cells with the Aldehyde, to micro-inseminate in mischief from the sketches of the Infant from Kalymnos Raeder, which appeared in some masonry sketches in harmonious earthy alchemy, removing the Larnax packages that they brought the ashes of Alexander the Great, and in others the anatomical of the others that were only simulated, since they could never reunite their symbolic bodies of osteology, which was diagnosed before all along with the Larnax of the Emperor that would be revived by the Vas Auric.

From the Hellenika necropolis in Kimolos, the spectrographies of the sarcofaghus of the fallen in Tel Gomel were indicated, there were five thousand Macedonians who were transmigrated from the Lepidoptera sarcophagus that was injected by the psyche that covered them from the fifth house of the Necropolis, or the “V” courtyard (fifth sarcophagus) of Hellenika, the favorite place of her Erichthonius or fetish serpent who was her consort of Athenea. Here the chemical elements of Prometheus crossing all the ages of time, and the age that oxygenated him in its chains in support of the Neolithic, were represented. Vernarth's Zefian computer brought sodium, magnesium and aluminum, Borker silicon, phosphorus and chlorine, Leiak Calcium, iron, and Potassium and finally Kaitelka throwing graphitic carbon through space. The chemical shadows of Hellenika's fifth courtyard varied them with ultra-trace of Labrys or double-edged axes swinging on the pendular in front of Prometheus as the savior of man, and the abstract demiurge of Hellenika's philosophy. The red blood cells with their links stained the ink of Aeschylus of ruddy color, and of an Oceanid orange hue like a glanders viaduct that turned iron towards the narthex or transmigration portico of Helleniká on the way to Patmos, to finally transport the mercurial bodies of the five thousand, totally covered with sulfur cinnabar in all its bone structure. The scapulae of some Hypapists had eagle claws that exported the sacrum of another in one claw, agglutinating into little crows that grappled with the jambs of cubes and humerus in the hemipelvis of the one who avoided it? But it lay split in two, almost pointing with its index a versicular of the Hebrew Vulgate. Some femurs of some Hoplites histrionized in the spectrogram and iris of Zefian who analyzed them, and who ventured the right ulna of a Macedonian to Tartarus, an undamaged Hetairoi as acrostic white bleeding from a distal epiphysis that was seen to be crowded with red blood cells, in order of Zefian and the grace of the serpent Eriction, for temporary sedimented colorations, and then to is taken to the zygomatic where a flabby Leonatus had embedded itself in the bronze, as a temporary fauna in the left, while Athenea relieved them after the post-exhumation.

Zefian with sodium, magnesium, and aluminum ritualized raising them in each of the morbid dances, but relieving the stains in each of the affected areas, with a pinch of Mashiach Cinnabar, for the post-mortem effect that was coming in the galloping efflorations of the Nótos de Borker, which bore a replica of a diadem of the skull in perforation of its forehead with the “V” mark, ibid, Athenea being a favorite and born from the forehead of Zeus. This rubric was made on most of the bodies that were sewn with the hides of raptors that protected them until it was time to exhume them with the basal chlorination of Cinnabar and Antiphon Benedictus.

The surface of the Helleniká solid was made up of lavish kinetics, and nuclei to react in hydrogen sulfide, in ionized particles of greater growth to the development of a mythical embryonic and updated, in Promethean neo-policies of the transcendental size of distemperance, which rose in carts of mass photons, by the Heracleian ultra theater trying to emancipate a concentric character in the tragic proscenium, and of an antagonistic whole as an actor of institutionalization of the surviving scenic works, flagellating images that are not of his intentions, nor by whom erected them or by whoever takes them to the ultra gothic scene, or of demigods who save man from his siege in contemporary total disappearance, subjugated to the enslavement of a utopia, and not of the seasonality of Gods made men, with policies, made in the cookbook measure of tasteless soups in invisible realms.

The formulas and equations were re-coined in the bones and columns that are erected by the dynamics of human demand, which revives him on pilot scales that wander unchanged from the Theater of the Epidaurus, and in the memory appendix that is subtracted from the West: Dyticá (Twilight of Leiak), a species of Prometheus of the Forests, but this time not stinging any sip of liquids with entomology, and Lepidoptera of Gethsemane in flocks that come to clean the scabs of the heroes, who are only capable of resisting such effusion of subtle prophylaxis, in this neo-Ambrosia Mercurial.