t to be called. A knock at t to find Black Effendi, o look at trating and at my paintings, t o direct a question to me in tan. “Very ion I’m to answer?”

    old me. Very hen!

    Style and Signature“As long as tists motivated by money and fame instead of t increases,” I said, “inue to ness mucy and greed akin to tion yle“ and ”signature.“” I made troduction because t is done, not because I believed rue ability and talent couldn’t be corrupted even by trutold, money and fame are ts of talented, as in my case, and only inspire us to greater feats. But if I o say trators in turists’ division, rabid o prove t I love t ture of a tree on a grain of rice. I’m  t for “style,” “signature‘ and ”cer“ o us all t by ain unfortunate Cers ures broug by Jesuit priests. Nevert me tell you t comprise a recital on topic.”

    tyle and SignatureALIFOnce upon a time, to t, in a mountain castle, ted ing and painting. triking tatar s of lovemaking, sing until morning, and lived in sucasy t to live eternally.

    t o realize tounding and flaures of ters. As tared at t renderings, unfalteringly reproduced, t as time op and ty ories. In turist, a master of masters, er depicted tous, suggestive looks  fabled  alteration ist  tatar beauty. Be ture er miniaturist ually, ion caused turist to stray from good sense; incited by t t o ters for tion of ures, and ily assumed t a toucions—tylistic toucer miniaturist—not imperfections, urbed by tings,  t ed in numerous ar beauty oucer. So, ention