《外国极限》合订本出版（01-11两册春节48元优惠）

钟玉龙

        《外国极限》简介   
      由广东省集邮协会理事、广东省集邮协会学术委员、潮州市集邮协会学术委员会主任钟玉龙先生主编的国内唯一研究外国极限集邮的专业刊物——《外国极限》创办于1993年5月，已出版合订本（1993-1996）（1997-2000）（2001-2005）三大册，集邮泰斗郭润康先生、已故集邮家孔浩鸿的、美国极限集邮家Terry Watson、外邮专家王清的及国内极限集邮界精英郭胜、朱炳荣、刘运忠、冯赐杭、杜永凯、杨鸣、钟润森、倪双来等提供的极限邮文为《外国极限》增色。现已再出版《外国极限》合订本（2006-2011），16开一百页，四封彩页珍藏版，收录从2006年至2011年全部正刊文章，内有美国极限集邮研究会会长Terry Watson的专稿、国内极限集邮界精英郭胜、刘运忠等提供的极限邮文以及钟玉龙主编翻译的FIP极限集邮展品评审专用规则（最新版）、FIP极限集邮类展品评审指导要点（最新版）等文章多篇，大部分邮文是由钟先生本人撰写和翻译（他的文章经常被中国权威集邮刊物《集邮》《中国集邮报》《集邮博览》等刊载），《中国集邮报》和《集邮博览》曾辟专版详细全面介绍《外国极限》，《外国极限》还多次在全国文献展览获奖，并曾评为“十佳民刊”。
   《外国极限》集学术性、资料性、知识性于一体，是极限集邮者和专题集邮者必不可少的精神食粮，是广大极限同好组集参展案头必备的重要文献资料，是中外极限集邮的交流平台。   
   《外国极限》合订本的出版填补了我国极限集邮研究尤其是国外极限集邮研究的不足，为国内外重要的极限集邮文献。（潮邮）
    《外国极限》合订本本会会员优惠价大陆20元/册，挂刷费另付4元，港澳台15美元（含航挂费），外国20美元（含航挂费）。欢迎函购，多谢师友支持！


外国极限（06-11）封面（印刷效果图）

钟玉龙

《外国极限》合订本（2006-2011）封2

钟玉龙

《外国极限》合订本（2006-2011）封3

钟玉龙

《外国极限》合订本（2006-2011）封底

钟玉龙

          《外国极限》总目录（正刊）
         第55期——第78期                  （2006-2011）
第55期 极限集邮学构建可行性研究....................................................钟玉龙
        师生同绘佳人，名作巧铸和谐.......................................... （昆明）刘运忠
第56期  在第２７届全国最佳邮票（票品）评选及全国获奖邮集精品展
         上钟玉龙的《雕塑》特邀展出..............................................................韩讯
         突出重要性和珍罕性是极限展品获高奖的:“法宝”.....................钟玉龙
第57期  帽子专题极限邮集.....................................................................钟玉龙编译

第58期  美国奇观（英文稿）..................................................Terry Watson(美国)
         着力“雕塑”艺术之美——组编《雕塑》极限邮集体会点滴......钟玉龙
第59期  美国奇观.........................................................................................钟玉龙译
         FIP极限集邮新规则中“variant”的理解及翻译...................... 钟玉龙
        早期MC片票戳三者和谐的典范：德国和巴勒斯坦两国首枚极限            片........................................................................................................................ 钟玉龙
第60期  FIP极限集邮规则中的“Concordance”VS“和谐一致”..............钟玉龙
         斯卡拉歌剧院极限片..............................................................（北京）郭胜
        伊拉克和黎巴嫩第一枚极限片：各贴两枚邮票的古典片........ ................钟玉龙         
        五枚君主珍罕极限片..........................................................................钟玉龙
第61期  FIP极限集邮展品评审专用规则（最新版）............................... 钟玉龙译
     奇幻多姿蓝色调 尽显夫人高雅美.......................................... （昆明）刘运忠
第62期  FIP极限集邮类展品评审指导要点（最新版）............................钟玉龙译
        巴黎歌剧院..............................................................................（北京）郭胜
        两枚盾形纹章古典极限片.................................................................钟玉龙

钟玉龙

第63期  斯芬克司极限片猎珍........................................................................ 钟玉龙
        潜心翻译极限集邮文献——韩师老师钟玉龙研究成果受好评....... 韩讯         
        2007极限集邮二三事.............................................................. 钟玉龙      
第64期 源于生活的外国雕塑艺术...................................................  钟玉龙              
       《集邮博览》上的处女作引发外国极限集邮研究.............................钟玉龙
第65期 极限邮集《药用植物》评析..............................................................  钟玉龙        
        班贝格的古老市政厅...............................郭胜                        
第66期  参观邮展与极限集邮情缘..................... 钟玉龙                                 
      奇幻多姿蓝色调   巧绘夫人高雅美.....................刘运忠译                              
第 67期  《桥梁》极限邮集降级为大银奖后的启示........................  钟玉龙                     
   世界遗产——阿尔及尔的卡斯巴哈极限片..............................本刊辑                        
    世界遗产-法国巴黎巴黎塞纳河畔极限片 .......................本刊辑                             
第 68期  从北京世展到洛阳世展看极限类展品变化........钟玉龙                        
      古代埃及三雄.............................. 郭胜                                                
第 69期 潮州邮协大换届 本刊主编倚重任......本刊特邀记者                           
         西班牙绘画大师委拉斯凯兹与《宮娥》极限片........ 本刊编辑               
         世界早期极限片........................ 本刊供                                             
第70期 寻找极限集邮生活中的兴奋点.................钟玉龙                                 
        创新与突破—从洛阳邮展获奖极限集邮展品看极限集邮出路..................................................................................钟玉龙

钟玉龙

第71期      钟玉龙的《外国极限》合订本获奖.............................................韩邮
             依照FIP极限集邮规则英文原文看连票制作极限片——
            兼与《广济桥邮票的极限片制作问题》一文作者商榷............钟玉龙
            潮州广济桥之中英文 ............................................................钟玉龙译
第72期  感觉是极限集邮的最高境界.............................................................钟玉龙
        中美洲极限片略谈..............................................................................本刊
第73期  极限集邮四盘菜........................................钟玉龙
        稀罕的文革极限片—金丝猴...............................老钟
        2010广州全国极限集邮展览获镀金奖极限邮集选登——罗可可
       绘画艺术一框（获镀金奖）...........................昆明刘运忠

第74期  岁月留痕 极限留迹——中年极限集邮感悟.................钟玉龙
        获奖极限邮集选登——罗可可绘画艺术一框(续)........昆明刘运忠
        极限集邮小知识.....................................................................................本刊
第75期  我和美国极限集邮家丹尼尔·沃森的极限情缘.............................钟玉龙
        美国纽约古根海姆博物馆极限片.....................................................本刊辑

第76期 美国早期极限片.................................................................................钟玉龙
       比利时国徽/保加利亚世界遗产——里拉修道院/布鲁塞尔市政厅
       -比利时世界遗产...............................................................................本刊编辑

第77期 汕头经济特区成立30周年集邮展览极限类展品印象...........韩讯
       从极限片中领略秋天的收获.............................. 钟玉龙
第78期 美国首任总统、国父乔治·华盛顿极限片...................钟玉龙
       马克吐温和其代表作《哈克贝里·费恩历险记》.............钟玉龙        
      古典珍罕片欣赏................................................................................本刊编辑

钟玉龙

FIP极限集邮展品评审专用规则（最新版） 钟玉龙译
第1条 竞赛级展览
　　本专用规则根据国际集邮联合会（FIP）集邮展览竞赛级展品评审总规则（以下简称总规则）第1条第4款制定，是对总规则关于极限集邮各项规则的补充，并参照极限集邮展品评审指导要点。
第2条 竞赛级展品
　　极限明信片应遵循尽最大可能使以下各项间和谐一致的原则：
a）邮票
b）图画明信片
c）邮戳
第3条 展品组成原则
　　极限明信片个组成要素应遵循以下条件：
3．1 邮票
　　　邮票邮资必须有效，而且只能贴在图画明信片画面一面。欠资票、预销票、印花税票、万国邮政联盟(UPU)邮票以及公事邮票不得使用，但公众可以使用的邮票（联合国、联合国教科文、欧洲议会等公事邮票）例外。
3．2 图画明信片
　　　图画明信片尺寸应符合“万国邮政公约”的规定，但市面上出售的正方形或长方形明信片只要其尺寸在A4纸(210x297厘米)上能够放置2枚极限明信片可以接受。出于对其设计者的尊重，严禁裁剪明信片尺寸。
　　　明信片必须尽最大可能与邮票题材和谐一致，如有多个，须与其中一个和谐一致。邮票完整放大，即是带有邮票齿孔、面值、国铭的明信片禁止使用。
　　　明信片图画务必须强调邮票主题。接受市面上流通的明信片。明信片允许有边框和与主题直接相连的文字。古典明信片图画一面允许有书写格。图画越大极限明信片的质量越高，古典明信片除外。有多个画面和全息画面的明信片均禁止。
3．3 邮戳
　　邮戳必须由邮政部门独家刻制和授权。邮戳的图案设计和/或文字以及销戳地（邮局名称）应与邮票和图画明信片题材、或邮票发行目的（事件、公益活动系列邮票主题）有关。不过，只要地点和谐一致，集邮组织刻制的邮戳可以接受。小国集邮组织刻制的邮戳只有带国家名称方可允许。
　　　邮戳的主题与画面和/或文字越相关，其和谐一致性越大。
　　　不带图案的普通日戳只要地点和谐一致也有效。
　　　销戳必须在邮票的有效使用期内，并尽可能接近邮票发行日期。
3．4 展品分类
　　　极限集邮类展品可分为：
　　　a) 国家或国家群
　　　b) 专门课题和/或研究
　　　c) 专题
　　　3．5 纲要
　　　在前言页里，题目和纲要形成一个整体，与其展示的素材（参见总规则第3条第3款）完整和谐一致。其构思、结构和拓展应交代清楚。
　　　第4条 展品的评审标准
　　　FIP集邮展览竞赛级展品评审规则是按照总规则明确要求制定的（参见总规则第4条）。
　　　关于极限集邮类展品，特别强调其知识性以及展示其尽最大可能和谐一致（参见指导要点）。
　　　第5条 展品评定
　　　5．1 极限集邮类展品由该领域公认的专家并依照总规则第5章第31—46条进行评审（参见总规则第5条第1款）。
　　　5．2 对于极限集邮类展品，规定以下打分标准以引导评审团进行均衡评审（参见总规则第5条第2款）。
　　　展品的处理和重要性   30分
　　　知识和研究           35分
　　　品相和珍罕性         30分
　　　外观                  5分
　　　                     ——
　　　                     100分
最后条款
     6．1 如译文产生歧义，以英文文本为准。
　　  6．2 本项关于FIP集邮展览极限集邮类展品评审专用规则已于2006年10月14日在马拉加举行的FIP大会上通过，并于2007年3月卢森堡举行的FIP理事会批准。
（原载《集邮报》2007.12.22第11版面》）

钟玉龙

FIP极限集邮类展品评审指导要点（最新版）                  钟玉龙译
竞赛级展览
　　本指导要点是对评审总规则（以下简称总规则）以及极限集邮专用规则的补充，以引导评审团进行评审并帮助极限集邮展品参展者精心制作展品。
2．竞赛级展品
　　2．1  极限集邮展品只能由极限明信片组成。
2．2  其各组成要素的质量和这些要素间的和谐一致为极限明信片成为“适合集邮展品素材”限制条件（（参见总规则第3条第1款）。
　　3．展品组成原则
　　   除了总规则第3条规定的要求外，各组成要素还应遵循下列条件：
　　3．1 邮票
　　 邮票必须品相完好，并且图画明信片画面一面只能贴一枚邮票。1978年“极限集邮国际条例“颁布前如果一枚或多枚邮票与明信片画面和谐一致，则允许一枚极限明信片贴多枚邮票。如果邮票有多个、次要或陪衬题材，每个题材必须尽可能分别对待。
　　 贴在明信片上的邮票（或小型张）其面积不得超过明信片的1/4。同一主题出现在多枚连票上形成全息图时，该连票可以贴用在明信片上。可是，连票上的主题被分离开来时，只能含有该主题的邮票才可贴在明信片上。
　　自动售票机出售的电子邮票允许贴在明信片画面一面。
　　一般来说，抽象或象征性题材不适合极限集邮，故被排除在外。
　　3．2 图画明信片
　　图画明信片应尽可能在邮票发行前出售，否则，如果专门印制则应复制业已存在的印刷物。只有长方形和正方形明信片允许使用，不包括其它形状明信片。
　　以下素材不能用于制作极限明信片：
　　粘贴印刷物、剪片、照片纸上的私人照片、彩色或黑白照片、集成照片、画片、运用电脑把邮票设计图稿印制在照片纸上的印刷物。
　　3．3 邮戳
　　邮戳上的邮局名称和日期必须清晰可辩并完整地骑缝盖销在邮票和明信片上。手工邮戳和机盖邮戳均适用。没有美术图的邮戳只要地点和谐一致同样接受。
　　3．4 展品分类
　　a) 国家或国家群展品包括用一国或在地理、历史或文化有密切联系的国家群发行邮票制成的极限明信片。除了传统展品可以限制在一个阶段外，，一般应避免按邮票发行时间顺序来展示。
　　b) 专门课题和/或研究展品根据参展者的选题，既可按照极限明信片的组成要素，也可按照不同角度的和谐一致，或二者兼之有之，或按一个特殊阶段。
　　c)专题展品包括与某一专题有关的极限明信片，没有空间和时间限制。
　　在以上3类展品中，所谓“异种极限明信片”可以同时展出，也就是说，同一枚邮票贴在不同明信片上，盖销不同邮戳，但始终遵循和谐一致原则。如果展品不是专门展示异种极限明信片，其数量应限制，以防展品不均衡或素材不足。异种极限明信片每框数量不超过两枚。销在同一天发行、图案相同邮票上的不同日期邮戳不足以制成异种极限明信片。
　　
　　3．5  纲要
　　纲要必须放置展品首页上，表述展品内容并清晰地再现主题思想。
　　纲要必须有逻辑、均衡，与题材和题目一致，分章节。仅有简单的内容目录或文字描述是不够的。书写文字必须采用任何一种FIP官方语言。
　　4．展品的评审标准
　　　4．1 极限集邮展品根据FIP集邮展览竞赛级展品评审总规则第4条和FIP极限集邮展品评审专用规则评审。
　　　4．2 展品的处理和重要性
　　　共30分，其中处理20分，重要性10分。
　　　展品的处理和拓展包括下列几方面：
　　　展品的题目、纲要和内容之间保持良好的协调一致，极限明信片分类明智、有层次、逻辑性强，并和脉络清晰的纲要相适应。说明文字应简洁，并对各组成要素和/或和谐一致起补充说明的作用。
　　　展品的重要性指根据已知素材和所处理专题范围大小对所选专题拓展难度。
　　　4．3 知识和研究
　　　共35分，其中知识20分，研究 15分。
　　　参展者根据自己挑选极限明信片以展出方式接受评审。参展者应清晰地展出所选专题知识、邮票知识、邮戳知识，必要时对图画明信片的知识。

钟玉龙

　　　邮票知识根据说明的重要性（发行目的和日期、类型、版别、变体、有效使用日期等）接受评审。
　　邮戳知识包括邮戳类型、使用时期及其使用情况（地点、图案、文字）的证明。邮戳由邮政部门盖销后对其外观进行任何涂改都应作伪造处理。
　　图画明信片的知识根据其与邮票主题的和谐一致程度、品相和版本珍罕性进行评审。
　　极限集邮研究以遵循主题、地点和时间三要素的和谐一致为原则。
　　主题的和谐一致是组成一枚极限明信片的最重要条件，邮票和明信片图案应尽可能在视觉上和谐一致。
　　地点的和谐一致要求邮戳的地点与邮票及明信片主题密切相关。“首日邮戳”符合上述条件方可使用。
　　纪念物、风光名胜唯一符合和谐一致要求的地点是纪念物、风光或名胜所在地。如果该地没有邮局，销戳地应选符合上述要求的地点或最靠近的地方。
　　主题是名人，应选择与其纪念事件有关的地点销戳：出生、去世、埋葬、工作或活动地、死后纪念地等。假如邮票纪念以上某事件，应选择其事件发生地销戳。邮票纪念一件事件，应选择其相关地销戳。
　　假如邮票表现诸如飞机、火车或轮船，选择与主题有关的飞机、火车、码头或飞机（或火车、轮船）上邮局销戳。
　　极限明信片表现体育运动应在该体育项目训练所在地销戳。
　　极限明信片表现工艺品如绘画、雕塑、镶嵌工艺品、搪瓷制品、铝条玻璃窗、壁画、艺术挂毯以及通常所有博物馆或美术馆藏品应在发现地或创造地销戳。其他地点如果与其作品有关联（如艺术家签名或肖像，模特肖像等）也允许销戳。
　　然而，评审有关“工艺品”展品时，考虑到其普遍性，评审团可接受发行国家的邮戳。但同一工艺品出现在不同国家的邮票上时，该作品发现国销戳的极限明信片评分较高。
　　当邮票表现的主题地点不在发行国而在他国时，上述例外情况适应用于名人或有关宇宙专题，应在邮票发行国组织与发行目的有关的声明地点销戳。
　　当邮票纪念他国事件或表现他国风光或纪念物时，因地点完全不和谐一致不能制作极限明信片。
　　某国在国外设立的邮局销戳（如举办集邮展览或者其它场合）可以接受。
　　销戳地点与主题密切相关、邮戳上的图案或文字与邮票/明信片形成一个和谐一致的整体，不论其已使用时间长短，都特别受欢迎。
　　时间的和谐一致指在邮票有效使用期内的邮戳日期。
　　4．4品相和珍罕性
　　　共30分，其中珍罕性20分，品相 10分。
　　　极限明信片珍罕性依据在其领域内三要素其中之一要素的相等珍罕度、制作的难度/或古典性。
　　　极限明信片的古典性划分3个阶段：
　　A．1946年前——1946年为极限明信片名称首次公布的时间
　　B．1946年至1978年——1978年为FIP首次采纳“极限明信片规则” 的时间
　　 C．1978年至今
　　4．5 外观
　　　　外观5分。
　　    展品的外观应认真完成、整体外观良好。因此，参展者应遵循以下几个方面：
    使用浅色贴片；贴片上的素材疏密有致，每张贴片最多放置两枚极限明信片（避免贴片过于空荡或过于密集邮品相互遮盖）；相应的说明文字准确、清晰、书写无误。
　　5．展品评定
　　为了得到一致的评定，极限集邮类评审员应填妥评审表格，给参展者提供若干意见，以供其修改展品。展品中不允许有伪品，建议参展者请人对有疑问的邮品给予鉴定。
　　6．适用条件
　　本极限集邮类展品评审指导要点于2006年10月14日在马拉加举行的FIP大会上通过，并于2007年3月卢森堡举行的FIP理事会批准。
（原载《集邮报》2007.12.22第11版面》）

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FIP极限集邮评审专用规则（最新英文原版）
FIP FEDERATION INTERNATIONALE DE PHILATELIE Fondée en 1926 COMMISSION FOR MAXIMAPHILY SPECIAL REGULATIONS FOR THE EVALUATION OF MAXIMAPHILY EXHIBITS AT F.I.P. EXHIBITIONS (SREV) Malaga, October 12, 2006 Article 1: Competitive exhibitions These special regulations have been drawn up in accordance with article 1.5 of the “General regulations of the FIP for the evaluation of competitive exhibits at FIP exhibitions (GREV)” to supplement those principles with regard to Maximaphily. Also refer to “Guidelines for judging Maximaphily exhibits”. Article 2: Competitive exhibits The maximum cards should conform to the principles of maximum possible concordance between: a) The postage stamp b) The picture of the postcard c) The cancellation. Article 3: Principles of exhibit composition The constituent elements of maximum cards should conform to the following characteristics: 3.1. The postage stamp It must be valid for postage and affixed only on the view side of the picture postcard. Postage-due stamps, pre-cancels, revenue stamps, stamps violating the "UPU (Universal Postal Union) philatelic code of ethics", are not allowed, nor are official stamps, except those, which are at the disposal of the public (United Nations, UNESCO, Council of Europe,...). The postage stamps which are cut out from postal stationery are allowed only if the issuing postal service permits their use. 3.2. The picture postcard Its size must conform to dimensions accepted by the “Universal Postal Convention”. However, postcards of square or rectangular shape available on the market are accepted, provided that their size allows them to be laid out on a sheet to the A4 format (210 x 297 mm) at a rate of two per sheet. Out of respect for its designer,it is strictly prohibited to reduce the size of a postcard by cutting it. The picture must offer the best possible concordance with the subject of the postage stamp or with one of them, if there are several. All postcards fully reproducing the postage stamp, that is to say with perforation, face value, country name, are forbidden. The picture must emphasize the subject of the postage stamp. The postcards on the market are accepted as they are. They can have margins and a text directly connected with the subject. Old postcards can have on the view side an area for correspondence. With the exception of these old postcards, the larger the picture is, the better the quality of the maximum card is considered to be. Postcards with multiple pictures as well as ones with holograms are forbidden. 3.3. The cancellation The cancellation must be printed exclusively by the authorized postal service. The pictorial

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design of the cancellation and/or the text, as well as the place of cancellation (name of the Post office) should have a connection with the subject of the postage stamp and of the picture postcard, or with the purpose of the issue (event, charitable activity, theme of the series). However cancellations made by philatelic services are accepted provided that the concordance of place is respected. Cancellations made by the philatelic service of small countries with only the country name are allowed. The closer the connection is between the subject and the picture and/or the text of a pictorial cancellation, the better is the concordance. The ordinary cancellations without illustration are valid provided that the concordance of the place is respected. The cancellation must be carried out within the period of validity of the postage stamp and as close as possible to the date of issue. 3.4. Classification of the exhibits Maximaphily exhibits can be classified by: a) Country or group of countries b) Specialized field or study c) Theme. 3.5. Plan In the introductory statement, the title and the plan form a whole, in perfect concordance with the material shown (reference GREV, article 3.3). The concept, the structure and the development of the exhibit should be clearly defined. Article 4: Criteria for evaluating exhibits The evaluation of the exhibits at FIP exhibitions is carried out according to well defined general criteria(reference GREV, article 4). For Maximaphily exhibits, special significance is given to the knowledge and the maximum possible concordance shown (refer to guidelines). Article 5: Judging of exhibits 5.1. Maximaphily exhibits are judged by the approved specialists in the Maximaphily class and in accordance with section V, articles 31 to 46 of GREX (reference GREV, article 5.1.). 5.2. For Maximaphily exhibits, the following relative terms are presented to lead the jury to a balanced evaluation (reference GREV, article 5.2.). - Treatment and extent of the exhibit 30 - Knowledge and research 35 - Condition and rarity 30 - Presentation 5 ------ 100 Article 6: Concluding provisions 6.1. In the event of any discrepancies in the text arising from translation, the English text shall prevail. 6.2. These “Special regulations for the evaluation of Maximaphily exhibits at FIP exhibitions” have been unanimously accepted by the FIP Maximaphily Commission Conference held in Malaga on October 12, 2006 and submitted for approval to FIP Bureau.

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FIP极限集邮类展品评审指导要点（（最新英文原版）
FIP FEDERATION INTERNATIONALE DE PHILATELIE Fondée en 1926 COMMISSION FOR MAXIMAPHILY GUIDELINES FOR JUDGING MAXIMAPHILY EXHIBITS
1. Competitive exhibitions The present guidelines complete the general regulations (GREV) and the special regulations (SREV) to help the jury in the evaluation and the exhibitors in the elaboration of Maximaphily exhibits. 2. Competitive exhibits 2.1. A Maximaphily exhibit is exclusively composed of maximum cards. 2.2. The quality of the constituent elements and the concordance between these elements give the maximum card the qualification of "appropriate philatelic material" (GREV, art.3.1.). 3. Principles of exhibit composition The constituent elements should conform to the following conditions, in addition to those provided in SREV article 3: 3.1. The postage stamp - It must be in perfect condition. - Only one postage stamp should be affixed on the view side of the picture postcard. Before 1978, when the “International statute of Maximaphily” was approved, maximum cards showing several postage stamps are tolerated, if one or more of those are concordant with the picture on the postcard. - In the case where a postage stamp has multiple, secondary or partial subjects, each subject must as far as possible, be dealt with separately. - The postage stamp (or the souvenir sheet it belongs to, if it is stuck on the postcard) must not exceed a quarter of the postcard area. - When the same subject is spread out on several se-tenant stamps making a panorama, the set can appear on a single postcard. However, when a subject is isolated on one of the se-tenant stamps only the one on which the treated subject is illustrated should be affixed to the postcard. - The use of an illustrated postal prepayment impression dispensed by automatic vending machines, affixed on the view side of the postcard, is allowed. - In general, abstract or symbolic subjects do not suit Maximaphily and are excluded from its field. 3.2. The picture postcard - The picture postcard should be as far as possible on sale before the issue of the postage stamp. Or,if it has been published specially, it should reproduce a pre-existing document. - Only square and rectangular formats are allowed; all others are excluded. - The following items cannot be used for maximum cards: collages, cut-outs, private photographs on photo paper, color or black and white photocopies, photo-montages, drawings, documents specially devised for the stamp issue to be printed privately on photo paper thanks to a computer. 3.3. The cancellation - The cancellation giving the name of the post office as well as the date must be legible. It must be whole and tie the postage stamp to the postcard. This applies to hand-stamped cancellations as well as to machine cancellations.

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- Non-illustrated cancellations are acceptable on condition that the concordance of place is respected. 3.4. Classification of the collections a) The collections by country or group of countries include maximum cards created with stamps issued by one country or by a group of countries having geographical, historical or cultural links. Generally the chronological order of the issues should be avoided, except for traditional exhibits limited to one period. b) The specialized and/or study collections are based, according to the exhibitor's choice, either on the constituent elements of the maximum card, or on the different concordances, or on both, or on a specific period. c) The thematic collections include maximum cards related to one theme. They are limited neither in space nor in time. In these three types of collections the so-called "variant maximum cards” can be simultaneously shown, that is to say maximum cards with the same postage stamp affixed on different postcards, with different cancellations, but always observing the rules of concordance. If the collection does not deal only with variant maximum cards, their number must be limited, in order not to show an imbalance in the exhibit or a lack of material. Two variant maximum cards per exhibition frame are considered as a maximum. A different date on the cancellation of the same date-stamp is not sufficient to make a variant maximum card. 3.5. Plan The collection must be preceded by a plan on a single page. It must describe the contents of the collection and clearly show the leading idea. It must be logical, well-balanced and in accordance with the chosen subject and title. It must be divided into chapters. A mere table of contents or a literal description cannot be regarded as a satisfactory plan. It must be written in one of the official FIP languages. 4. Criteria for evaluating exhibits 4.1.Maximaphily exhibits are judged according to article 4 of the “General regulations of the FIP for the evaluation of competitive exhibits at FIP-exhibitions (GREV)” and in accordance with the “Special regulations of the FIP for the evaluation of Maximaphily exhibits at FIP exhibitions (SREV)”. 4.2. Treatment and importance of the exhibit A total of 30 points is allotted, 20 for the treatment and 10 for the importance. The treatment and the development of an exhibit deals with following points: - A good concordance between the title, the plan and the contents of the exhibit. - A logical and judicious classification of the maximum cards, well adapted to the leading idea of the plan. - The written explanations should be concise, and give some supplementary information about the elements and/or the concordances. The importance of the exhibit is linked to the difficulty of the development of the chosen theme, according to the material known and the narrowness of the treated theme. 4.3. Knowledge and research A total of 35 points is allotted, 20 for the knowledge and 15 for the research. The exhibitor being judged by the way he/she has selected the maximum cards of his/her collection, his/her exhibit should clearly demonstrate his/her knowledge of the chosen theme,

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of the postage stamps, of the postal markings and also of the picture postcards when necessary. - The knowledge of postage stamps is judged according to the interest of the comments (purpose and date of issue, type, printing, variety, date of the end of validity ...) - The knowledge of postal markings covers the types of cancellations, the period of use, and the justification of the use of the cancellation (place, illustration, text …). All attempts to improve the aspect of a cancellation after the postal authorities have applied it will be considered as falsification. - The knowledge of picture postcards is judged according to its concordance with the subject of the postage stamp, its quality and the rarity of the edition. The research in Maximaphily is based on the observance of the three concordances: of subject, of place and of time. • The concordance of subject is the essential characteristic of a real maximum card. This concordance between the illustration of the postage stamp and the one of the picture postcard must be as close as possible and visually verifiable. • The concordance of place requires a connection between the name of the place or the locality written in the postmark and the subject of the postage stamp and of the postcard. The "first day cancellation" can only be used when it is in accordance with the above-mentioned condition. - For monuments, landscapes and sites there is only one place that gives the required concordance. It is the one where the monument, the landscape or the site is located. If the place has no post office,the one serving that site should be selected or the one of the nearest place. - When the subject is a personality the cancellation should be made in a place in connection with an event which concerns him/or her: birth, death, burial, work or aspect of his/her activity, posthumous homage etc. When the postage stamp commemorates explicitly one of these events, cancellation of the place where it happened is better. - In the case where the postage stamp commemorates an event, the cancellation should be made in a place related to it. - When the postage stamp shows for instance a plane, a train or a ship, the cancellation should be made in a place where there is an airport, a railway station, a port or an on-board post office related to the subject. - The maximum cards showing sporting activities are better if they are cancelled in places where these sports are practiced. - The maximum cards showing works of art such as paintings, sculptures, mosaics, enamels, leaded glass windows, frescoes, tapestries, and, generally, all objects in museums or collections, should be cancelled either in the place where they are to be found, or in the place where they were created. Cancellations of other places are allowed on the occasion of local exhibitions and other events if they are in connection with the work (signature or portrait of the artist, portrait of the model etc.). Nevertheless, in judging exhibits about "works of art ", considering their universal nature, the jury should allow the cancellation of the issuing country. However, in the case where the same work of art is shown on postage stamps of different countries, the maximum card with the stamp and the cancellation of the country where this work of art is to be found will be better.