Kaitelka was in the Equinoctial Aftó, she bathed but always oriented herself as an Argonaut star bathing in the Aegean while waiting for the ******* of Áullos Kósmos. Between both Aulos and Citara, she modeled the auletic- citaristic, in glimpses of her Psychic Trisomy.  In effect of the existence of an extra chromosome in a diploid organism 158, for a number of chromosome fifty-four, instead of a homologous pair of chromosomes. From this position she was limiting her chromosomes of normality in the genetic proximal when entering the bay of Skalá that she was waiting for her native, where the art of navigation danced in the nitrogenous water that brought her from Skalá; from Eleios-Pronnoi, about 39 km south of the main city on the island of Argostoli, in southern Kefalonia, on one of the Ionian islands of Greece. From here, mimetic was thrown towards the art of the unknown sea, collapsing and disoriented by its territorial similarity, and maritime per se of its Otolith that brandished it in dual places of Ionian-Dodecanese geography, following the semiotic songs of Leiak that emerged from the auletic to infer Ballenid genera, which acted precisely between the island and the Bay of Patmos with the same name as Skalá.

Kaitelka's Vernarthian tenor carried her behind her with another Ballenid, this one carried the Demiurge Ezpatkul, with his prominent Augrum or Gold teeth that rotated on the backs of all the borer beetles, being Scarabaeidae that delimited towards a dialectic, and paraphrase of a qualitative satirical one, especially in the form of Vernarth's sub-mythological subgenre. To commend all the hypotheses of this whale, it sang with the native cephalization ultrasound, where it continued to harmonize media in its cranial cavity, and in the muzzles of its larger fins that transmitted waves of parapsychological regression towards Vernarth, parodying the transparent sendal ballads that it made. with his transit through the water, however, not having members that strengthen his controversial cetacean passerby by waters of a melodious literary language, such as a great inspirational propeller, and satires that host greenhouses in most of the jubilation, related to rudders that furrow his verbal poetry, easing restrictions, and possessing the genome that was deprived him in his gestation, of a maternal expropriation victimized with fears of an end, and Apocalypse hungover by the sea and freshwater. They piloted their heart valves, mere and Dantesque with Zeusian buttress spauto, muddled and bundled in their bombastic myocardium like omitted ships without ever lifting anchor and setting sail, a very brief tulle of water satirizing formula additions, and a piece of dull wood on its spur that was It bore like a whale, it was carrying its weight in a literary category where there is no way to test it. Without hindrance, she laughed alongside the breakers in the manner of a belligerent tendril in thick keel skins, dramatizing him and perhaps delaying the investiture of Vernarth's Himation Proskynesis, peering jocularly and foreshadowing his encounter with her. Her chains were Caucasus icebergs, demystifying seasonality by residing linked to a single Down Whale destination, ******* with her dorsal to exhale genome rearrangements with Cinnabar, refining hormones and stereotyped whale chromosomes.

The concordance of the Satirical subgenre, and the polarized gender correspondence inanimate Kaitelka, usurping the intentionality of the sub-mythological drama, in two roads of Skalá that appeared to lose the standard of their ears, in tragic representation versus the comedian staging, harbinger of an interlude between two areas that struggled to have it directed towards three comedies that plunged into three tragedies, missioning the furrowed features of the ideals of survival, with preceded parables of the psychic-linguistic being, due to its canonical supernatural modality by blending itself with disciplined domains. Of a rhetorical poetics, rectified in religions that grant Orphic and messianic structuralism; foreshadowing the hymns of Orpheus in the Bible, and metaphorical in revealing divine truth, accessible only to spirits worthy of it. The purpose of metaphor in her poetry has the deciding function of the ineffable of thought, through simile, comparison, or image.  Song and poetry, song and prayer, prayer and ritual forming an inseparable phrase of meaning in it, impossible to differentiate in the biblical psalms themselves. The penultimate of them recalled number 149, being a hymn destined to accompany the dance; "Make melodies for him, with drums and lyres." It is known that the classical instrument of Orpheus reaches the level of the sacred in biblical texts. Psalm 150 contains an orgiastic ending to a symphony, in the description of the instruments that accompany the word and the voice that praises God, with sermons from Kaitelka blooming from an oceanic being and printing songs of the subgenre, without blemish of sub- mythology and the unconfessed proceeding. The comical exaltation of him recreates aspects of great joy, for those who feel vibrations under his belly in his orphic water, portraying semis or semiotic cathartics of their own trisomic roots, in an effort to decode drama, for intermezzos of the mythological subgenre. Borker with his sword Mythos interpreted the story of Kaitelka when he told her about the melting of Horcondising, seeing in them friendly glaciers that included her within the storytelling of provinces that sensitize the culture by rebirth on spherits and plasma hematocrits, for an apologist that admits inanimate corporality actor. Its genesis is Bereshit, "which names and does not start", from the undervalued parashot of the gods and kings, commanding them ibid to the inter-dogmatism that it contributes in its credit reserve, in large consortiums besieging colonies by the southern seas of the Borker  Nótos. "Evil tears their veins heal their goods and relegate the forgetful in the tradition of existence alongside the demiurges, incontinent to their ills that enjoy making creation sleep, soothing it in innocuous myths that are often more than a truly supernatural!

Helios went out to the road by the west and not by the east, in the nascent instant of the ectoplasm that revealed micro satires that led to the station of the hero who lives hidden, behind the proscenium of cultural and religious intimacy, Kaitelka plunges a few meters below the Aegean where he was already arriving, and he can realize that he did not see marine species around him, only beams of light that distorted his view of those who flatter him on a descent? Underwater a mythical mission wailed on dry surfaces, and the phenomena of the underwater stones were relaxed before any reflection of the veracity of a myth of expression in the mouth of a fish, brushing against systematic hermeticisms of what was infinitesimal. All this dialectical journey towards inevitably alternating molecules of his genome, to re-establish himself in his hybrid status upon reaching Skalá, here he would have to use his two neurochemical brains for a mortal instinct that does not die inside the mouth of a whale but in interrogation. …?  Based on Leiak's sexagesimal nanoscale extension, endowed with a fractional comparison that collects mythologies within them, for the uncertain truth. The only burden of etiological myth in Kaitelka is a consequence of her suffering, which is offered in psychic trisomy, for being **ized by three chromosomes, disorganizing her reality as a specimen that unfolds as a congenital disease.

Kaitelka says: "Who am I and where do I come from? I am reaching the floodgates of my lord Vernarth, and I can see that I am reborn in his astragalus and honeysuckle, which tell a story ****** under the tripod of Herophila.  Authoritarian truth that will bow before the pig to become, smelling here the tragic essence in truths that are hidden in symbolic denial"

Kaitelka is instituted a few miles before she begins to navigate in a zigzag, trying to condense forces for the origin of her ethereal, with sarcasm techniques that the self encourages to plunge into diluvian tears and moan in the scenarios of uncertainty, in the judgment of pouring out real myths, transposing its flow in the destination that is flooded in imprecise gestures and between cries with super sounds that lifted it on the swells, and these, in turn, were shedding the mystery Masken by raising water concentrated in onerous polymorphology. With joys and hilarious meltdowns on the mountains, she approached everything when she reached the pleasant Skalá, escaping from the cosmogony that bound her ungraciously on the light water, overflowing towards the very origin of a Vernarthian deity, in pasts and futures that do not intersect in the radial of its origins. The sky proclaimed laughter and mimicry gestures that adhered to the vitrifying phenomenon of past-present pashkien images, ready to lightning that heals the invalidations of walking on disturbed waters, a dipsomaniac leitmotif in early Christian justice. Kaitelka sins irascible, violent and proud, urgent and judicious, but conciliatory despite carrying a cross and a harpoon on her back. She will remain Kaitelka Down, but Patmos will arrogate her Thracian gift from her Orphic origin to her, for purposes of radial preeminence in the Ballenids that hoist sacred sites. The adventure prescribes a univitelino twin, but when she goes beyond the hirsute destiny of her Iliad, she begs to go transforming into a rainy sphinx on the thick bronze roof when the coins are broken, towards a seduction stop that is enthroned in the gloom of the minotaur, in the numinous hands of a daffodil and on the face of the Epsilon. Or crawling in mitral of valvulopathy with the carriage messengers, with the swans or pigeon birds; perching on a wreath of roses and myrtles that surround her red bozos. Almost always appearing undressed next to her escort, usually more than multiplied towards her, with the amazement of her animal consorts, which are dolphins, and Thracian pigeons, a priori of being covered by the Pythia of Delphi that is migrating in murky triumphs of the Achaemenides in Gaugamela.

Kaitelka was in the Equinoctial Aftó of Áullos Kósmos IV after geomancy was oriented as a star Argonaut bathing in the Aegean while waiting for the ******* of various sectors of Áullos Kósmos. Between both Aulos and Citara, she was modeled with the aulética-citarística, glimpses of her Psychic Trisomy. In effect of the existence of an extra chromosome in a diploid organism 158, for a quantity of chromosome fifty-four, instead of a homologous pair of chromosomes. From this position she was limiting herself with her chromosomes of normality in the genetic proximal, upon entering the Bay of Skalá, which was waiting for her native again, where the art of navigation flourished in the nitrogenous water that brought her from Skalá; from Eleios-Pronnoi, about 39 km south of the main city on the island of Argostoli, in southern Kefalonia, on one of the Ionian islands of Greece. From here, she mimetic, she turned towards the art of the unknown sea next to Wonthelimar who endorsed her with his favorite, collapsing and disoriented by their anti-gregarious territorial similarity, and maritime per se the Otolith that brandished him in dual places of Ionian-Dodecanese geography, following the semiotic songs of Leiak that emerged from the aulética to infer Balénid genres, which acted precisely between the island and the bay of Patmos with the same name as Skalá, to meet everyone and be a participant in the construction of the sanctuary.
Kaitelka's Vernarthian tenor carried her behind her with another Ballenid, this one again carried the Demiurge Ezpatkul, with his prominent Augrum or Gold incisors that turned on the backs of all the borer beetles, being Scarabaeidaes that were delimited towards logic, and paraphrase of a qualitative satirical, especially in the modality of the subgenre, and sub-mythology of Vernarth. To commend all the hypotheses of this whale that sang with the native cephalization ultrasound, where it continued to arrange means between the middle and in its cranial cavity to the percentage of the world map, with the muzzles of its larger fins transmitting waves of parapsychological regression towards Vernarth, and parodying the transparent cendal ballads that he did with his passage through the water, despite not having members that strengthen the controversial cetacean passerby by waters of a melodious rhetorical language, such as a great inspirational helix, and satires that house greenhouses in most of the jubilation, akin to rudders that I furrowed in his verbal poetry, easing restrictions, and possessing the genome that was deprived of his gestation, of the maternal expropriation, victimized with fears of omega, and of Apocalypse hungover by sea and water candy. They piloted their heart valves, mere and Dantesque with the Zeusian buttress spauto, muddled and bundled in their bombastic myocardium like omitted ships without ever lifting anchor and setting sail, a very brief tulle of water satirized aggregates of their formula, and a piece of stony wood on their spur he braced himself like a mammal, he was carrying his weight in a literary category where there is no way to test it. Without hindrance, she was hilarious next to the breakers in the manner of a belligerent tendril with thick keel skins, dramatizing him, and perhaps that would delay her in reaching the investiture of Vernarth's Proskynesis Himation, some looked out jocular and foreshadowed to meet with her. Her chains were Caucasus icebergs, demystifying seasonality by residing linked to a single destination of Balénido Down, ******* with her dorsal that exhaled rearrangements of the Cinnabar genome, clarifying hormones and stereotyped balenid chromosomes.

The concordance of the Satirical subgenre, and the inanimate polarized gender correspondence to Kaitelka, usurping the intentionality of the sub-mythological drama, in two Radas of Skalá that appeared to lose the standard of their ears, with tragic representativity versus comedian staging, heralding an interlude between two areas that struggled to have it directed towards three comedies that pounced on three tragedies, missionizing crossed features of the ideals of survival, with parables preceded by the soul-linguistic being, due to its canonical supernatural modality when it was mimicked with disciplined domains after of a rhetorical poetics, rectified in religions granting orphic messianic structuralism bis of the equinoctial aft; foreshadowing the hymns of Orpheus in the Bible, and metaphorical in revealing divine truth, accessible only to spirits worthy of it. The purpose of metaphor in her poetry has the deciding function of the ineffable of thought, through simile, or in comparison to imagining. The song is one poetry, and the song such a praying too, prayer and ritual forming an inseparable syntagma of meaning in her escaping from Arbela's zither, impossible to differentiate in the biblical psalms themselves. The penultimate of them recalled number 149, being a hymn destined to accompany the dance; Orpheus says: "make melodies for him, with drums and lyres." It is known that the classical instrument of Orpheus reaches the level of the sacred in biblical texts. Psalm 150 contains an orgiastic ending to a symphony, in the description of the instruments that accompany the word and the voice that praises God, with sermons from Kaitelka blooming from an oceanic being and printing songs of the subgenre, without blemish of sub- mythology and the unconfessed proceeding. The comical exaltation of him recreates aspects of great joy, for whom in his Orphic water, he feels vibrations under his belly portraying cathartic and semiotic of his own trisomic root, in an effort to decode drama, for intermezzos of the mythological subgenre. Borker with his sword Mythos interpreted the story of Kaitelka when he tells her about the melting of Horcondising, seeing in them friendly glaciers that included her within provincial storytelling that sensitizes the culture being reborn on its spheres and plasma hematocrits, for an apologist who admits acting corporality and inanimate. Its genesis is Bereshit, "which names and does not start", from the undervalued parashot of the gods and kings, ordering them from the ibidem to inter dogmatism, in which it contributes in its credit reserve, in large consortiums besieging colonies by the southern seas of the Nótos of Borker. "Evil tears their veins heal their goods relegates the forgetful in the tradition of their existence alongside the demiurges, incontinent to their ills who enjoy making creation sleep, soothing it in innocuous myths that are often more than a supernatural truth!

Helios went out to the road by the west and not by the east, in the nascent instant of the ectoplasm that revealed micro satires that led to the station of the hero who lives hidden, behind the proscenium of a cultural and religious intimacy, Kaitelka plunges a few meters below the Aegean where he was already arriving, and he can realize that he did not see marine species around him, only beams of lights that distorted the view of those who flatter him on a descent? Underwater a mythical mission wailed on dry surfaces, and in the phenomena of the underwater stones, they relaxed before any reflection of the veracity of a myth of expression in the mouth of a fish other than Theseus, brushing systematic hermeticisms with the gloomy and infinitesimal. All this dialectical journey towards inevitably alternating molecules of his finite genome, to reestablish in his hybrid status when arriving at Skalá, here he would have to use his two neurochemical brains for a mortal instinct that does not die inside the mouth of a whale, but in the interrogation after being swallowed…? based on the extension of the sexagesimal nanoscale of Leiak, equipped with a fractional comparing that collects mythologies within them, for the uncertain truth. Kaitelka's only etiological myth burden is a consequence of her suffering, which is offered in her psychic trisomy, for being bastardized by three chromosomes, disorderly the reality of her specimen that unfolds her as a congenital disease.

Kaitelka says: Who am I and where do I come from? I am reaching the floodgates of my lord Vernarth, and I can see that I am reborn in his astragalus and vines, which tell a story ****** under the tripod and vapors of Herófila. Authoritarian truth that will bow before a pig to become, smelling here in the tragic essence, and in truths that are hidden in its symbolic denial?
Kaitelka is instituted a few miles before she begins to navigate in a zigzag, trying to condense forces for the origin of her ethereal, with sarcasm techniques that self promote her to blink in deluded tears and moan in the scenarios of uncertainty, in the opinion of pouring real myths, transposing its flow in the destination that is flooded in imprecise gestures and between cries with super sounds that raised it on the swells, and these, in turn, were shedding the mystery Masken by raising water concentrated in onerous poly morphology. With joys and hilarious meltdowns on the mountains, she approached everything when she arrived at the pleasant Skalá, escaping from cosmogony that linked her weightlessly on the light water, overflowing towards the very origin of a Vernarthian deity, in pasts and futures that do not intersect in the radial of its origins. The sky proclaimed laughter and mimic gestures that adhered to the vitrifying phenomenon of past-present pashkien images, ready to lightning that heals the invalidations of walking on troubled waters, a dipsomaniac leitmotif in early Christian justice.
                                            
Kaitelka sins irascible, violent and proud, urgent and judicious, but conciliatory despite carrying a cross and a harpoon on her back. She will continue to be Kaitelka Down, but Patmos will arrogate her Thracian gift of her of Orphic origin to her, for purposes of her radial preeminence in the Ballenids that hoist all the sacred sites. The biological diagnostic prescribes an univitelino twin whale, but when she goes beyond the hirsute destiny of her Iliad, she begs to go transforming into the rainy sphinx on the thick bronze ceiling as she breaks in the minting of the coins, towards a stop of seduction that enthrones in the gloom of the minotaur, and in the numinous hands of a daffodil on the face of the Epsilon. Or crawling in the mitral and in her valvulopathy with messengers, carriages, and with swans or pigeon birds; perching on a wreath of roses and myrtles that surround her red bozos. Almost always appearing undressed next to her escort, usually multiplied in excess towards her, with the amazement of her animal consorts that dolphins are, and Thracian pigeons, a priori being covered by the Pythia of Delphi that is migrating in the murky triumphs of the Achaemenides in Gaugamela.

Antiphon Benedictus II / Sybilla Herophile

The wide influence of history was automated in rituals; it would indicate a bibliographical time rather than secular. The antiphons will take us through the hallelujah of eternal times and along the path of the Spring of Castalia. In singularity will be Delphic Herófila, primordial of Delphi prophesying Trojan conflicts. By reinterpreting her priesthood, she leads us to the Templar Adyton, which can be reinterpreted in a Christian way in the classical antiquity of this antiphon. Being able to be captive, she looked serious and wise, visionary and with customary strange gestures, for an abnormal state of Young Sybilla woman who was later supplanted by older fortune tellers.

The Antiphon Benedictus says: “Herophila you were plagiarized and ridiculed by a heterodoxy that knows rituals and sacred cares, the Pneuma that emerged from the cracks upset your incongruities, which settled on the millennial pedestal in Macedonian territorial geographies, uniting with Alexander the Great, recirculating in Sibylline centers and dividing the doors of Sober Hell, towards epiphanies of the cult of light, and of the sacred pairs of wisdom.

The discussion took place in front of those who surrounded the perimeter of the Antiphon; there was Vernarth and Saint John the Theologian. For decades the twilights have not made the red blood cells of the Cassotis iridescent, which defied a hydrographic competition, for the purpose of desembalming the bodies of the Falangists that emerged from the Temenos of Patmos; secular space for the auditoriums of the antiphon. With ornamental fictitious oracles envisioning the inadvisable opening of opposing eyes towards a Mysta or Mystírio Eleusino, so that finally, given the toxicity of Mercury's sulfide, they would emancipate themselves by making objections to the hypothesis of ruddy post-mortem symbols, which the braves of Tel Gomel, when appearing outside the extinct topic, so that the Benedictus songs would button their navels, which was the only thing that united them to the Sybillas who came from the expropriated ethics, and from the Cinnabar outpatient clinics for long periods providing life in the quantum of Mercurial Ambrosia. Being this preferably housed in the skulls of the V (Fifth courtyard of Helleniká, but this time with eschatology of the Koumeterium of Messolonghi). Eurydice is associated with an exhumation in front of the alerted and emitted effluvia of the Herophile after the Zygastron, which shone from a canvas and that Borker preserved from the Laurel Woods, in a sycalyptic horizon of the equinoctial Aftó of the Kaitelka Cetacean, which nitrated oxides from the eastern vertical, on its back, spauto shredding with purple carbonates towards the Rubicunda del Tinctorium, and from the rhizome that hydrated the enervated and dispersed drops that remained from the convulsion of the Metelmi wind, and shaking the fin that came from this Balaenidae specimen Mysticete, in casuistry of a whale with Down syndrome, but with prodigious psychic powers.

The Cinnabar wandered through the clothes of Tel Gomel's disembalmed ones, who colored themselves with sulfur mercury and revived from the oracles of Herófila, who woke up early with Eurydice validated by her Orphic impetus like no one else. The specific parts were tints of vital signs and epidermis shoots that trembled through the epiphyses of the tibiae that decanted arthritic through the femurs, and that rose with timid muscular masses, until they reached the instep where the celestial holes of Vernarth appeared, that he struck each one of his faithful with his Xifos sword, to bleed a bronze chalice for their reduced movements, stacked on crossed legs with dejected cheekbones that fell on their feet.

Reddish spots on his jaws and on his forearm they were transposed with red salvific footprints of Eurydice that he brought from Charon, but that expressly limited them in the posterior scapula that came arriving from the fifth courtyard of Messolonghi completely stiff in black. The muscular insertion was made of pale ocher, and the Cinnabar was elemented to verticalize the involuntary bodies of the earthquake, before the controversy of the makeup of their resurrection, after an outfit that they had never used before, pigmented by an antiseptic oracle of Herófila, which already insisted to compensate with war shrouds the size of the Benedictus that self-shod the iron suns, and that buried fangs of light and life in their facials, moving in the nervous of the trigeminal towards the ethmoid, causing rales of stimuli feminoids, for the enthronement of the women present in the only atrium of the Mandragoron. Thus they remained in multi-partial stages of the psalm that revived them, to go to meet the Hegemon Alexander the Great, who emerged synchronously from Larnax, from an eruption that uttered the greatest insults of political clarity, in the fierce agonies of his perforated lung. Parasites were sprinkled like empathic germs of Hellenism, conferring Masken resurrection, beyond the curtain or canopy that separated them in Persepolis..., returning from the Indus, for the funeral that would pass through the departure of Hephaestus. Rigor-mortis buried a soul overheating in pulmonary contusion, after a feverish respite, and re sulphating in the rhetorics of Plato and Aristotle.

The Sybillas no longer menstruated on the tripod, the Pythoness in their prehistoric eagerness was conceived twice cyclical, which were reconverted into prehistoric female raptures that confirmed the exo-red blood cells of the menstrual torment, to become reconverted Christian goddesses who were doubly buried in one past joined to the other, and that they were about to precede the next past-present, on an oak that supported them, clinging to them to bear the pain that never existed.

sie wurde
zum alltagsgegenstand
geliebt und gehaßt
zeichen schlechter zeiten
und beschränkungen

von manchen
    gleichmütig angenommen
    als neues mode accessoir
für andere
     ein bedrohliches symbol
     für vorschriften von oben
für viele
     nur ein notwendiges übel
    das wieder verschwinden wird

wir müssen sicherlich
unsere reflexe
beim anblick maskierter personen
überdenken

   zumindest in unseren breiten
   waren masken meist kennzeichen
   von banditen und räubern

nun tragen sie die guten
und die bösen nicht
aber … wie sicher können wir sein?

es ist eine ernste herausforderung
aus den bewegungen der augenbrauen zu ermessen
ob du einem freund begegnest

oder nicht

"Etrestles them knowing that a hill was reserved in a beautiful settlement on axiomatic elevations east of Bethlehem, he provided unusual illumination." Etréstles; Champion of the Koumeterium of Messolonghi, felt that after thousands of years of life, he conceived in this Holy Land a great value of omnipresence. The Miracle of Christian protocol would begin in him, paying for votes and tributes in the Baptistery of the Field of the Shepherds. In this uniquely mystical rock, “His rebirth begins in his tenth life before there were nine in Messolonghi (Koumeterium Messolonghi-Editorial Palibrio USA). A miracle happens that transports him to the subsoils that would transport him to the most archaic, of the nine past cycled epics in Kalavrita, Kalidona, Patmos, and Messolonghi. Here he will come face to face with past lives, with the substances that were born and fell reborn in those that come, surrounding him with the pastures that circulate through the veins of the airspace of Thesaurus; through the plain of the Rabadanes in La Shepherds Fountain. In this analogy with allegorical motifs, he goes in commemoration of the shepherds and their flock, for those who are crowning this fountain, having before our eyes the sculpture of the shepherd and under his feet floral motifs such as palm leaves, heads of cattle, sheep, and geese. in the act of ingesting his own Masken. This hexagonal source contrasts with the Hexagonal Primogeniture; here is the miracle that would come about, to meet the intangible Creation and the Luminescence as clothing. They thought they were closer to the village ... but in reality, they were three and a half kilometers from it, in a fenced area with a wide path that runs through the park on the hill between groves and lush flowers that clearly evoke the place where those 1st-century shepherds led their sheep to pasture. They went up the sinkhole at level 203, of the Profitis Ilias wind tunnel, here the Armas Christi worshiped the foreman who was present before continuing their pilgrimage to the top of the mound, where Vernarth was with the Hexagonal Birthright waiting for him in this zafral.

Vernarth says: “They were all dozing when certain decagonal sounds carried them through the baptistery…, in its decagonal plan surrounded by four chapels and the apse that houses the altar, covered by a large dome of mortar and glass, which lets in illuminating the altar as did the star Ursae  Minoris or Kynosoura who indicated the shoulder of the shepherds. Here the murals that guarded the hosts of Aserá had already disappeared. Most likely, they were watching with great chandeliers as they opened in the quagmire of the sclera of their bare eyes. We were trapped by the quagmire created by Raeder and Petrobus, in these opaque clouds of numinous sheep dung, transmuting through the corridors of the new worlds of culminating grazing. We went to its algorithm and on the entrance door, the angel of the annunciation showed us, on it a singular watchtower incorporating us into the facade by means of three distended flying buttresses. Inside the beautiful fertile field, from a bicolor marble hermitage, the spaces to which the pilasters that support the roof also contribute could be emphasized. The chapels are adorned with some precious frescoes that represent scenes of the annunciation to the shepherds and the arrival at the birth, and the altar table that is supported by the sculptures of four archangels, especially with the appearance of the hexagonal birthright in the middle of these boulders”

Faced with this hexagonal-polygonal effect on both sides, they intro dug into their own peaks and reigns. A straight north stretchmark crossed them in a double hemicycle that was concentric in the full equatorial diameter, inscribed in the theocentric of a circle of a sheep that was lactated ..., here the foreman arrive and receive them with great hospitality, in symmetrical affability they shook in entertainments with their shofar on songs and tunics…, each one was exalted by the rising air of another Jamsin zephyr that was detached from the typical climograph with golden showers in Ein Kerem and of golden verses in Bethlehem in the Nativity. More than a plateau grazed by ruminants, it was adorned with golden gadgets in its golden mouths. Twelve degrees to the right, on the sixth wick of the Menorah, a regular Silouéta or silhouette was lit, making this intangible, whose vehemence makes them drink water from the hexagonal well, much more equidistant than walking among themselves, moving their hands with all their hands. Diligent emotions, intensifying the numb emotions that would vibrate from the third angle as they were coated with the vertices of the light that glowed from the convex morning. The trisection of the angle will have to hit an angle whose measure is one-third of another given angle, using only a ruler and compass, the baptistery or apse being incorporated in its third part of the Greek tertiary angle.

The Sibyl Agrippa sings (bis): “she bears the lashes related to the scene of Flagellation in the Praetorium. Here red blood-stained filigrees ran for votive offerings simulating blood from the celestial, representing the corresponding straight folio. The natural laws of the Parables Jaspias make alchemy with immanent and hypocoristic noble minerals in the cavern that revealed all this grace to Raeder, for the propaedeutic of the Mashiach by centralizing here the space-time that said that God has similarity to the Iaspis, as you set of condensed gold in the expiration and metallization of the cosmic essence. The similarity made all the walls of the vault or tunnel of the Profitis Ilias ruled by Jasper and Carnelian, the latter being Raeder's green-blue eyes shining in his iris, and in the curvature of mass that was pressed into the interior of the wind tunnel that also expanded, making rubies and acuities out of itself. The visibility of the Universe was still hyper-bright over the Patmos inlet, for this Petrobus, his blue Pelican, was crowned surrounded by Apollo's superciliary arc, to enter the similarity of metals like his metalloid neighbor”