Quadrant Model of Reality Book 5 Art

Art Chapter

The wheel of the winds. An illustration in a copy of Isidore of Seville’s ‘De Natura Rerum’. The four winds and their paired associates visualize a union between three- and four-partite thinking, with a reference to the ‘Seven Steps to Heaven’ of John Scotus Eriugena). The four-parted division was, in his view, a symbol of human/earthly interaction, while the three-parted division was the domain of divine/heavenly communication.

Big Four in US broadcast television, the traditional Big Three television networks of ABC, CBS and NBC plus Fox. Although Fox has firmly established itself as the nation's fourth major network with its ratings success, it is not considered part of the Big Three. Among Fox's differences with the Big Three is its weekday programming, which lacks national morning and evening news programs (Fox has a news sister company, cable and radio operations, but does not provide content for the broadcast television network other than a weekly news analysis program, limited special reports and an affiliate news service for its stations called Fox News Edge), daytime programming, a third hour of primetime, late-night talk shows, and Saturday morning children's programming (although Fox had an extensive lineup of children's programs throughout the 1990s before selling its children's division to The Walt Disney Company in 2001 as part of its sale of cable network Fox Family Channel, after which 4Kids Entertainment supplied the network's children's lineup until 2009). Local affiliates either produce their own programming during these times or run syndicated shows. Fox is also the only one of the four major networks to include a regular block of infomercials on its lineup, via the Weekend Marketplace Saturday morning block. However, given the network's success in its prime time and sports offerings, it has been occasionally included with the Big Three, in which case the phrase "Big Four" is used. The fourth is always different and does not seem to belong

The Fourth Way is an approach to self-development described by George Gurdjieff which he developed over years of travel in the East. It combines what he saw as three established traditional "ways" or "schools", those of the mind, emotions and body, or of yogis, monks and fakirs respectively, and is sometimes referred to as "The Work", "Work on oneself" or "The System". The exact origins of Gurdjieff's teachings are unknown, but people have offered various sources. The fourth is different from the previous three, transcending them, yet encompassing them. This is the nature of the quadrant model pattern.

Painting Chapter

And time and division find their identity in a division-model. So, for instance, the period between the sunrise and sunset is called a ‘day’, with a certain duration, which can be divided in hours, minutes, seconds. In classical times the day was divided in twelve hours (and twelve hours night). If the sun reached the highest point in the daytime it was six o’clock (rather than twelve o’clock nowadays)

The fourfold division of a (twenty-four hours) day results in the time-units of morning, afternoon, evening and night. Michelangelo has sculptured this division at the tomb of Giuliano de Medici in the Medici Chapel in Florence (PANOFSKY, 1939/67). ELSEN (1985) suggested that the representation of the ‘Morning‘ might have been a model for Rodin’s ‘Thinker‘.

The new day, as a fresh beginning, has been a source of inspiration. In poetry the image is used in connection with light and a renewed visibility. The morning holds the promise of a new start. The motif has also been used in a literally sense as a source or spring. The four rivers of the Garden of Eden play a symbolic role here.

The theme of the ‘Tageszeiten‘, as an expression of ‘Werden und Vergehen’, was central in his thoughts. In 1803 he made sketches and completed in 1805 a copper-etching of the ‘Morning’ (fig. 43 right). The fountains are shaped into flowers and a new day burgeoning from the earth. In 1808, just before his premature dead on the age of thirty-three due to tuberculosis, he painted an oil-painting of the same motif: ‘Der Morgen‘, kleine Fassung (109 x 85,5 cm) ). The full cycle could not be completed due to his death in 1810. The fourfold division of the day is moralized in a seventeenth century etching of Abraham Bach ‘Die Vier Zeiten dess Tages’ . Morning, afternoon, evening and night are depicted in four illustrations of the Holy family, with Josef, Maria and the child Jesus as leading figures in a rural and homely setting.

TWonderboek‘ of David Joris (dated 1542) depicted a face above a heart, floating on water. Five fountain-like streams flow from the mouth of the head. Four return to the earth and one disseminates as rain. The (Dutch) caption says: ‘Een zeer goede Reden berst mij ter herten uit‘ (A good reason flows from my heart). These words are the opening lines of Psalm 45 in the Holy Bible, now reading in the authorized King James version as. The fifth is ultra transcendent.

The fourfold division of the day is moralized in a seventeenth century etching of Abraham Bach ‘Die Vier Zeiten dess Tages’ . Morning, afternoon, evening and night are depicted in four illustrations of the Holy family, with Josef, Maria and the child Jesus as leading figures in a rural and homely setting.

According to Kuilman

The four times of the day: morning, afternoon, evening and night were represented in a woodcut by Abraham Bach, around 1670. Germanisches Nationalmuseum, Nürnberg. The fourfold division of a twenty-four hours day is relatively little used by artists.

The distinction between the twofold division in day and night and the fourfold classification in morning, afternoon, evening and night is a matter of time-consciousness. This fundamental psychological human quality is important: behavior, motivation and emotion are strongly intertwined with the time-perspective of individuals (LEWIN, 1942; WINNUBST, 1975).

A short time-perspective is related – according to FRANK (1939) – to an impulsive, naive and consumptive behavior, while a long time-perspective is correlated with preparatory and instrumental behavior, aiming at control over the environment. The time-perspective is – essentially – a matter of choice with regards to the fundamental region in division-thinking. A lower partitional approach (black-and-white thinking) results in a short time-perspective, while a higher partitional way (the fourfold way of thinking) gives a longer time-perspective. Oppositional thinking is characterized by easy-made and quick switches, while a consciousness of multiple parts requires more time to change.

This connection between time-perspective and division thinking has never been made in psychology – as far as I know – and deserves a further elaboration. A whole new, four-fold context of human existence could be described, leaving Freud’s two-fold, gender-based approach to psychological behavior as a historical relict.

The association of day and night with good and evil is very old and can be seen as a monument of two-fold thinking. In the North-European saga-world, as captured in the works of the Icelander Snorri Sturluson (1179 – 1241) the figure of Odin, is the messenger of the light and the good, opposite Ymer, the representative of the night. Odin kills Ymer and from his blood springs a race of giants (of which Loki is the most prolific). Loki personifies the bad habits and the weakness and is assisted by the wolf Fenris, who has to eat the sun.

The light, as the medium of the day, allows the observation of physical reality, the (visible) visibility. This quality is often rated as positive. The human being is in control. The night, on the other hand, makes observance difficult. Darkness is a form of (invisible) invisibility, which can only be appreciated on a spiritual level. It can evoke, from a material point of view, a sense of fear and is for that reason regarded as negative.

The antithesis between day and night – as a two-fold element – is part of the four-fold way of thinking. ROSENBERG (1961) pointed to an illustration of the ‘four birds of the day’, fighting with the bird of the night (the owl). The illustration is used in the ‘Dialogus creaturarum‘ (fig. 46). This popular work was published in Gouda in 1480 and had several reprints. The first English edition of 1511 was reissued in 1816 in London by Joseph Haslewood as ‘The Dialogus of Creatures Moralized’.

The owl is attacked by four birds of the day. A woodcut from the ‘Dialogus creaturarum’; Gouda, 1480. This motif is commonly explained as strife between the good, represented by the four birds of the day and evil, portrayed by the bird of the night, the owl.

The little used symbolism and its explanation can be seen – in a four-fold context – as a derivative of the visualization of Concordance (or Harmony) between the one and the many, as birds coming from four directions. Albrecht Dürer applied the same motif – between 1509 and 1511 – in a woodcut, which was printed in Nürnberg (ROSENBERG, 1961)

The owl fighting with other birds. Woodcut from Albrecht Dürer (Nürnberg, 1509 – 1511). Four birds attack a central-seated, frightened owl from four directions. The traditional explanation, in a two-fold frame of mind, is a confrontation of the Good (the four birds) and the Evil (the owl). There are reasons to question this explanation, or at least to consider other possibilities. The owl (associated with wisdom) is a symbol of unity, while the four birds (associated with imagination) represents multiplicity. The trail to a more appropriate explanation starts in the publication of Alciatus’ ‘Emblemata’, where the birds are an expression of ‘Concordia‘. LEEMAN (1984) points to the evolution of the motif in the various editions between 1534 and 1614. In the edition published in Paris in 1534 are only two birds, but in the edition of the ‘Emblemata’ of Roville and Bonhomme (Lyon, 1614; XXXIX) are clearly four birds (fig. 48), with a strong reminiscence to the picture of Dürer.

The different forms of the ‘Concordia‘-motif in various editions of Alciates’ ‘Emblemata’ (LEEMAN, 1984). The illustration at the top shows ‘Concordia‘ as four birds of which one is crowned (Augsburg-edition, 1531). Their sharp claws have a distinct violent undertone. Some three years later, in the edition of ‘Emblemata’ published in Paris in 1534, the ‘Concordia‘-motif (bottom-left) is moresymmetrical (and peaceful), with two birds on a square frame and a flock of birds in the sky. In the 1614 edition of Roville and Bonhomme in Lyon (bottom-right), the four birds are equally centered on the top of a sarcophagus, with a flock of birds in the far distance. The setting of the attacking birds reminds of the representation of Dürer’s four birds some hundred years earlier. Four birds, but in a complete different setting, are encountered in a remarkable picture by William Caxton, the first printer in England. He gives an illustration of Evilmerodach, ‘a jolly man without justice who did hew his father in pieces’. It shows four birds making fun with the extremities of Nebuchadnezar (fig. 49). No sign of Concordantia or Harmony here, rather the opposite.

According to Kuilman

Harmony as the Goddess Air and as a symbol of unity in the four directions of space. Multitude and abundance are eminent in the nine-division of the muses. From a manuscript of the so-called ‘False Decretals’ in the Bibliotheque Municipale at Reims (MS 672, fol. 1r), written around 1180.

The goddess Air (Aer), with reminiscence to Christ, is placed in a syndesmos-posture, holding the winged winds: Aquilo, Oriens, Zephir and Auster. In the inner circle are three representatives of the spiritual world: Arion on a dolphin (symbol of literature), Pythagoras (science) and Orpheus (music). The medallions in the outer circle depict the nine muses according to Martianus Capella, who described them in a mixture of verse and prose in his popular ‘De nuptiis Mercurii et Philologiae’ (‘On the Marriage of Mercury and Philology’).

Harmony, as a concept, is related to the multitude. It is no coincidence that this theme emerged at the end of the twelfth century. The depiction of the nine muses is an indication of over-specialization in the tetradic way of thinking. The first signs of a teratological development are clear. The goddess Air has to hold its winds in a rather forced way, afraid – so it seems – that they may fly away.

The division of a day into morning, afternoon, evening and night is accepted as very common and the associated symbolism follows the four seasons: the morning (spring) is a new beginning and is a positive sign. The afternoon attracts the least symbolical value. It is a time of work and little reflection. In analogy, it is linked with the summer: the sun has passed its highest point, it is harvest time. The evening is the autumn of the day. The natural light is fading. The work is done. And finally the night, as wintertime, is a time of darkness, things coming to a halt. A time of sleep and entrance into a world of the unseen. However, it is also a time of expectation, of a new dawn and the trust in the cyclic recurrence of light.

An etching by an artist from the school of Hendrik Goltzius (1558 – 1616), depicted a physician as God, angel, human and devil. These four figures were put in a quadrant. These appearances are related to the position of the medical doctor in the eyes of a patient: first – as a God who can decide over life or death; second – after recovery sets in, as a ministering angel; third – when everything is well again, doctor and patient are on equal terms, both humans; and fourth – when the bill is presented, which is obviously too high. Then the doctor is seen as a devil (HUISMAN, 1992).

The allegorical picture was published in 1587. Robert de Baudous in Amsterdam published a new series, based on Goltzius’ example and engraved by Johannes Galle, in 1609.

The physician as God, angel, human and devil. An example of the use of four-fold division in a symbolic way in the late sixteenth century by an artist of the school of Hendrik Goltzius (1558 – 1616); Haarlem, 1587. Although four phases are used, it is obvious that the oppositional element (God versus devil) is more important.

The Museum Boerhave at Leiden acquired in 1992 four oil paintings of the Antwerp-born Jan Jozef Horemans the Younger (1714 – 1790) dated from 1752, with the same motif (REITSMA, 1992). It proofs the persistence of a rather unknown iconographical element in time (fig. 206). Again the painting is in the formation of a quadrant

A healthy person attacked from four directions by diseases. This picture was given in Robert Fludd’s book ‘Integrum Morborum Mysterium’ (1631). In: DEBUS (1978).

Rosemarie PUSCHMANN (1983) studied the iatromathematical importance of the magical quadrants extensively by means of Thomas Mann’s book ‘Doktor Faustus’ (1947). She mentioned four ways (‘modi‘) to read the natural sequence of figures on the Jupiter amulet (p. 42: 6.4.3. Die Figuren der vier Modi im Magischen Quadrat). Pushman suggested that Thomas Mann (1875 – 1955) was drawn to these possibilities by Hans Peschick. She referred to a letter to him dated the 24th of November 1949 (fig. 212). The relation of Albrecht Dürer with Thoman Mann was also described in an article by Michael PALENCIA-ROTH (1980).

The Jupiter amulet she is referring to is the Jupiter magic square. The Jupiter magic square is a four by four square. This is the quadrant model image.

The four ways (‘modi’) of reading the natural sequence of figures in a magical quadrant.

The four ‘modi‘ are, in fact, eye-movements performed to read the sixteen figures in a natural sequence. The first row (1 – 4) was read from the bottom right (1), to the top (2, 3) and back again to the bottom left (4). The eye-movement made an arch. The next three rows resulted in the same graphical figures. The movements were called: R – UK – K en U:

1. R – the ground row (‘die Grundgestalt oder Reihe‘: 1, 2, 3 4);

———– 2. UK – the reversal of the retrograde row (5, 6, 7, 8); ——————– 3. K – the retrograde row (‘der Krebs‘: 9, 10, 11, 12); ——————– 4. U – the reversal of the ground row (13, 14, 15, 16). The four ‘modi‘ or ways of reading the magical (Jupiter) quadrant are part of the theoretical foundation of the twelve-tone system in music, as developed by Arnold Schönberg (1874 – 1951) in the early decades of the twentieth century. Thomas Mann associated the four ‘modi‘ with sound figures and the ‘musikalisch-literarische Zwölftonreihe‘. The twelve-tone system, as it was developed in the early twentieth century, used a chromatic scale with four ‘modi‘: a row, a reversed row, a retrograde row and a reversed retrograde row (ADORNO, 1941/1975; SCHÖNBERG, 1976).

Von WINTERSTEIN (1929/1989) emphasized, in a psycho-analytical study of Dürer’s illustration, the anal-sadistic element of melancholics. The female figure of ‘Melancholia’ was associated with his mother (who died in the same year as the woodcut was made (1514) and the putti with himself, as an angel-like boy. The sleeping dog was interpreted as a symbol of his deceased father. ‘The magical square underneath the clock gives away’, in Von Winterstein’s observation, ‘in its spatial setting an unconscious-psychic relation with the penis functions and the process of counting (neurotic urge to count).’ This interpretation appeared rather farfetched, but might satisfy the believers in Freudian psycho-analysis.

The magical square is a four by four quadrant

The four crowned saints (Quattuor Coronati) in marble, by the Italian sculptor Nanni di Banco, in the tabernacle of the Arte dei Maestri di Pietra e di Legname (Stonecutters and carpenters), Orsanmichele, Florence, around 1415. In: BOULBOULLE, (1989) and KELSCH (1987). Portraits of the saints also occur in Pavia (in the S. Pietro church on the Arca of the Holy Augustine, around 1360), in Venice (in the dome of the San Marco and in the Dogen Palace, Colonna degli Scultori, around 1400), in Arezzo (S. Francesco church, painted by Parri Spinelli in 1400, destroyed) and on the isle of Sicily (DU COLOMBIER, 1953). Further north, in Austria, are representations at the Stadtpfarrkirch of Neunkirchen (Lower Austria), dating from around 1500. In the Pfarrkirche of Steyr (Upper Austria) is an epitaph of the builder-master Wolfgang Tenk, made of sandstone, with the heraldry of the building guild St. Stephan and the Quattuor Coronati. The consecration of the Munster of Aachen (Germany) took place in 1474 and was dedicated to the Quattuor Coronati. The only profane representation of the ‘Coronati’ in Germany is at Wertheim on the Main. A sixteenth century house (now the Heimatmuseum in the Rathausgasse) is decorated with the ‘Quattor Coronati’ in red sandstone

The ‘Quattuor Coronati’ and their symbols at the (former) town hall of Wertheim on the Main, Germany. From top to bottom: Claudius with a T-square; Symphorianus with a spirit level; Nikostratus with a compass; Castorius with a measuring rot (Photos: Marten Kuilman, August 2002). The ‘Quattuor Coronati’ were, especially in Belgium and Holland, a popular motif. Paintings and sculptures can befound in Brussels, Antwerp, Brugues, Gent, Leuven, Mechelen, Amsterdam, Dordrecht and Haarlem. The following historical occurrences are also noticed by KELSCH (1987): Middelburg (Guildhouse ‘In de Steenrotse’, around 1590, lost), Leiden (Guildhouse of the carpenters and masons, 1615, destroyed), Delft (silver guild-beakers, 1633; fig. 323), Arnhem (Eusebius church, destroyed and Appingedam. Guild cups from Delft. S. Lorenz and the ‘Quattuor Coronati‘, as patron saints of the guild of the building trade; silver, 1633. In: KELSCH (1987).

A medal with the arms of the building guild of St. Stephan in Vienna is dated from 1651 (fig. 325-3). In the outer rim of the sign is written: ‘Der Purgerlichen Steinmezen unndt Maurer Sigill der Haupthitten peu S. Steffan in Wien‘ and in the inner rim: ‘S smile emoticon Sigillum) Fraternita Lapicidarum Vienensiu Austriae‘. The influence of the building- and crafts-guilds diminished during the seventeenth and eighteenth century, and tradition became the main motive to continue the societies. The prominence of the ‘Quattuor Coronati’, as the patron saints of the construction-workers, declined in due course. They are remembered in literature and on the calendar of the holy days (the 8th of November) of the Roman Catholic Church.

The ‘Quattuor Coronati’ as a painting on the ceiling in the church in Appingedam (Groningen, Northern Holland). Left: 1. Claudius with a compass; 2. Nikostratus with a T-square (note that this is a reversal from the symbolism on the town hall in Wertheim); Right: 3. Castorius with a measuring rot and 4. Symphorianus with a trowel. In: STEENSMA (1984).

Many representations of the ‘Quattuor Coronati’ are connected with the building guilds, which flowered in the fifteenth and sixteenth century. The guild of the ‘Maestri‘ in Florence was, for example, a considerable political power block (GOLDTHWAITE, 1980) Their shield of arms showed the attributes of the ‘Quattuor Coronati’ (fig. 325-1), with a waller’s instrument for mixing mortar in the center.

The guild sign of the masons and thatchers of Middelburg (Holland), dated from 1607, exhibited at its reverse four persons with tools from the trade. Their names (Claudus, Nicostracius, Dicideryus and Syplycus) indicated that the knowledge of the original legend had become somewhat distorted (fig. 325-2).

The ‘Quattuor Coronati’ are seen here as patrons of the building trade. 1. A shield of the Maestri, Florence (Italy), mid-fifteenth century. GOLDTHWAITE (1980). The symbols (tools) of the ‘Four Crowned’ are depicted in medallions; 2. A guild sign from Middelburg (Zeeland, The Netherlands), 1607. The names are given as Claudus, Nicostracius, Dicideryus en Syplycus (KELSCH (1987). 3. Seal of the building guild of St. Stephan in Vienna (Austria), with the ‘Quattuor Coronati’. The names are given as (from left to right): S. Thorianus, S. Claudius, S. Nicostratus and S. Castorius. Dated from 1651. KELSCH (1987).

The Paradise or Garden of Eden was part of the Christian creation narrative. The fictional space was often divided by four rivers: ——————————— Euphrates ——————————— Geon ——————————— Physon ——————————— Tigris The middle two rivers are, in particular, subject to various interpretations. In some paintings the rivers, were symbolized as jars with water pouring out The four rivers of Paradise in the Musterbuch von Schmid. In: SEIBERT

The creation in Constantine of Pisa’s ‘Book of the Secrets of Alchemy’ depicts a world in four stages.

The ‘Bouc der heimelicheden van mire vrouwen alkemen’ was a Flemish translation of a Latin tractate, which has been dated in 1224, but must be situated, according to VAN LENNEP (1984, p. 47) in the second half of the fourteenth century. The picture indicated four circles, pointing to four distinct stages in the process of creation. It described, in alchemical terms, the Great Work (Magnum Opus) by the flow of holy or mercurial waters. The course of the water is significant in the various stages: from the primary four- to a two-division (Adam and Eve), a four division (the rivers of paradise) and a triangle. 1. The upper circle gave the actual, ‘heavenly’ creation: four rivers flow from a central source (fons maris) into four oceans. At the top (East) the Caspian Sea, to the right the Red Sea (South), below the Western Sea (West) and to the left the Mediterranean (North). This arrangement suggested a Hellenistic/ Alexandrian background, because the cultural melting pot in Northern Egypt fit in the given geographic orientation. VAN LENNEP’s (1984, p. 50) interpretation that the Red Sea (Mare Rubrum) is associated with the east (where the sun rises and the gold appears), is not in agreement with the direction in the picture, where the Red Sea is pointing to the south. 2. From the Western Seas flow two rivers towards the second circle, where Adam and Eve are in Paradise, eating an apple. Constantinus, using Aristotle as his source, dwelled exhaustive at the source of the waters of the seas (Tartarus) and the nature of the salt water. Adam was androgyn before Eva was formed, but this state of unity ended in a duality. The eating of the apple marked the Fall of Man. 3. The third circle shows the earth, with a moon and a mountain. A pelican is feeding her young. This representation was a well-known symbolism of the care of Christ for mankind. Four rivers flow from the mountain towards the next circle. These are the ‘earthly’ sources of creation, the rivers of Paradise. 4. The fourth circle figures a triangle with the indications of Asia (the east pointing north again), Africa and Europe, with Jerusalem in the center. Birds, animals and plants surround the symbolic representation of the earth.

The theme of the quadripartite fountain, and the start of Creation in general, was in the alchemical tradition related to Mercurius (JUNG, 1953). Mercurius pointed the way, as a communicator, swift in mind and body, with wings on his shoes and a golden staff. Plato described him in the ‘Phaedrus‘ as the celestial scribe and guardian of the files and records ‘and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters.’ Fig. 282 gives the source of life as a source of Mercurius. The source of life as the ‘source of Mercurius’. This illustration is from the ‘Rosarium philosophorum’ (1550), in a compilation entitled ‘Artis auriferae, quam Chemiam vocant, Volumina duo‘ (printed by Conrad Waldkrich in Basel, 1593 and 1610). The picture is full of alchemical symbolism related to Mercurius ‘descending into the fountain’, or the act of creation.

The spirited theme of rivers and gardens was further elaborated on Persian carpets. The shape of a carpet induces the design of rectangular forms, and there is often a (religious) meaning in the patterns, since many of the older carpets wee made as means of contemplation. The rivers of Paradise divide the carpet into four quarters

The fourfold motif (of the rivers) was conventionalized in the emblems (‘gul‘), which were used by the carpet makers of the Turkmen tribes in Central Asia (CURATOLA, 1981/1983). They all have a strong quadripartite scheme in common, often with a contrast between the quadrants

The first illustration (fig. 286) is from the monastery of Ratisbon (Germany) and dated from between AD 1170 and AD 1185. The Lamb (Agnus Dei) takes a central place, surrounded by the personification of the Paradise: Paradysus. From here the four rivers of Paradise flow to the Northwest (Tigris), Northeast (Euphrates), Southeast (Geon) and Southwest (Physon). Their personifications hold the church fathers in a medallion: Tigris clasps Augustine, Euphrates Gregory, Geon Jeronimus and Physon Ambrosius.

The second example – from a breviary in the monastery of Zwiefalten also dating from the twelfth century (fig. 287) – uses the same elements, again with the Holy Lamb in the centre. This time the paradise does not have a personification. The ‘IIII flumina paradisi’ flow in four directions: Physon to the north, Tigris to the east, Euphrates to the south and Geon to the west. Their personifications carry a jug, which was the usual way in this period to depict the rivers of Paradise.

Quadripartite symbolism as a representation of the earthly paradise. From a twelfth century breviary in the monastery of Zwiefalten, Germany. The rivers of paradise are personified as water carriers, pouring their water out of a jug, and placed in square medallion indicating their ‘earthly’ connection. The cardinal virtues are placed in the corners in round medallions, pointing to a ‘holy’ combination. The four Evangelists are given as scribes and accompanied by their symbols: man (angel), eagle, lion, bull. Carl JUNG (1973) compared this diagram with a mandala, the Boeddhistic cosmic view used as an aid for meditation.

The ‘quattuor virtutes cardinales’ are drawn in the round medallions at the corners: Prudentia (left) and Justitia (right) at the top, Fortitudo (left) and Temperantia (right) at the bottom. They hold their traditional attributes: Prudentia a book, Justitia a scale, Fortitudo some armory and Temperantia a cup.

The third example is a page from a Psalter from Thüringen (Germany) showing the rivers as personifications in circles

The theme of the four rivers of paradise was sometimes depicted as a cross (fig. 289), figuring as the four oceans. ‘Mare Rubius‘ (Red Sea) is marked, flowing to the east. North of it lies Africa. Rome is drawn prominently in a castle-like fashion with three towers, just right of the center. The southeastern quadrant represents Europe, mainly with Spanish city names. Little is shown of the geography of other European countries (could this map be a forgery?).

Archaeologists hypothesize, and these hypotheses are the most respected of all of the theories, that early cave paintings represented to the ancients their calendar. For instance, different animals would represent the four seasons. So in caves for instance, there will be an animal with stars over his head representing one season, and a different group of stars would be over another animals head representing another season, and the four seasons would be represented.

The search of extremes was on. The ultimate was a target to reach if it was positive and to avoid if it was negative. This belief was embodied in the symbolism of the four last things (De quatuor novissimis). The four last things refer to a passage in the book of Ecclesiastes (Chapter 7), where a list of oppositions is given (It is better to go to the house of mourning, then to go to the house of feasting: for that is the end of all men). The text on the extremes (Eccl. 7: 20) has been modified in later translations (like the King James Version of 1611) into: ‘For there is not a just man upon earth, that doeth good, and sinneth not.’

C. Plantijn in Antwerp printed an influential edition of ‘De vier wterste’ by J.B. Houwart in 1583. VAN VINCKENROYE (1965), in an extensive text edition, traced Houwart’s source back to the so-called ‘Cordiale‘ (probably by Geeraert van Vliederhoven), printed by Geeraert Leeu in Gouda in 1477 and titled ‘Die vier uterste’ (reprints in 1479, 1482 and 1488). Often the message is brought in four sermons, like the editions of Robertus Bellarminus in 1586 (reprinted in 1706) and Thomas Green (in 1749):

——————————— 1. The first sermon of death

——————————— 2. The second sermon of judgement

——————————— 3. The third sermon of torment and hell

——————————— 4. The fourth sermon of holy delight and heaven

A small catechism with the common prayers, the enumeration of virtues and vices, and an elaboration on the four last things was part of the repertory. The description was in a vivid style, not unlike the paintings of Jeronimus Bosch, where cruel punishments awaiting those who did not listen (STEPPE, 1967).

The most acquainted description of the theme of the ‘The four last Things’ was by Thomas More (1478 – 1535), who wrote the work in 1521, but left the manuscript unfinished. ‘Remember your last Things and you will never commit a sin’ was the leading text, which referred to death, judgement, pain and happiness. Thomas More did not go further than a remembrance of the dead and his admonition was limited to the seven sins. He concluded his sermon as a real dualist: ‘There are, as you know, two things essential to reach salvation, namely the rejection and avoidance of evil and the doing of good. While on one side all six capital sins must be avoided, as there is pride, envy, wrath, intemperance, avarice and lechery, because if we indulge in them, we can spoil the other half of the way to heaven.’

GERLACH (1988) pointed in his book on Jheronimus Bosch (c. 1450 – 1516) to Dionysius the Carthusian as the writer of the ‘Four Last Things’. This priest was the leader of a Carthusian order, from 1466 in Olland and thereafter in Den Dungen (Ten Eikendonk), until his dead in 1472. The four Latin editions of the ‘Quatuor novissima’ before 1500 were followed, with an interruption until 1532, by thirteen editions until 1693. The Belgian Jesuit William Stanyhurst (1602 – 1663) was very successful with his edition of the ‘Veteris Hominis . . . quatuor novissima metamorphosis et novi genesis’, dedicated to James van Baerlant (Antwerp, 1661; Prague, 1700; Vienna, 1766). The theme was still popular at the end of the eighteenth century. Titles like ‘Spiegel der Vernunft‘ (Mirror of Knowledge) and ‘Spiegel der kerstenen menschen‘ or ‘Der Kerstenen Spieghel’ (The Cristian Mirror, by friar Dirk of Munster) were very popular at the same period – around the pivotal point (1500) – as ‘The Four Last Things’. Theodorus Galle followed Hendrick Goltzius in a picture of Prudentia, showing a young boy the four last things in a mirror: Heaven, Last Judgement, Death and Hell (HAZELZET, 1994; fig. 159). ‘De quatuor novissimis’ or the Last Four Things (Heaven, Last Judgement, Death and Hell) are shown here in a mirror to a young boy by the goddess Prudentia. Engraving by Theodorus Galle (1571 – 1633) after Hendrick Goltzius (1558 – 1617).

The theme of the ‘Dance of Death’ emerged in the middle of the fifteenth century. This ‘Totentanz mit Figuren’ was printed by Knocblochtzer (ca. 1485). 1. The death and the young boy; 2. The death and the abbot; 3. The death and the bishop; 4. The death and the friar. The death uses different musical instrument to introduce the living into the afterlife. In: GRIJP (1989). Op. cit.

It is key to note that Galileo was not questioning God. He was questioning what he viewed as profane authority, or beliefs that were incorrect. Ironically Galileos views of the solar system themeselves were not entirely correct because he still believed in circular orbits. It took until Kepler to fix Galileos errors, so the pope was not entirely wrong in saying that Galileo was incorrect.

On the title page of Galileo's work Two Chief World Systems (Dialogo sopra i due massimi sistemi del mondo) would appear the four sources of knowledge according to people of that time. These sources fit the quadrant model pattern. The four-fold symbolism sometimes emerged in the engraved title-pages as the ‘Four Sources of Knowledge’: Divine Authority (or Scripture), Reason, Profane Authority (pagan philosophers like Aristotle) and Senses.

Square 1: senses- the first quadrant is sensation and perception

Square 2: Profane authority- the second quadrant is belief and faith which is trust in authority

Square 3: Reason- the third quadrant is thinking and emotion which I described in the first chapter of this book is rational consciousness.

Square 4: Divine authority- The fourth square is always transcendent.

Cristoph Scheiner introduced this emblematic element in the frontispiece of his ‘Rosa Ursina sive Sol‘ (The Rose of the Orsini, or the Sun), printed in Bracciano between 1626 and 1630. The book was dedicated to Paolo Orisini, the Duke of Bracciano (fig. 167). This early scientific study of the sun was a follow-up of his optical work called ‘Oculus‘, published in Innsbruck in 1611. He placed the four types of knowledge in a quadrant pattern.

The emblematic ‘Four Sources of Knowledge’ were later used by Athanasius Kircher in his optical publication ‘Ars Magna Lucis et Umbrae’ (Rome, 1646). Kircher compared the action of light to that of a magnet. The dualistic element is enhanced by the opposition between the profane knowledge – associated with a garden – and the senses depicted as a cave, the symbol of darkness. In the garden stands a sundial, but the beam of light goes astray in the darkness of the cave. The tetradic notion was represented in the corners of the picture as the ‘Four Sources of Knowledge’: the Sacral Authority with the Scriptures), the Ratio (symbolized as a writing hand with an unlighted eye), the Worldly Authority, and the Senses, depicted with a telescope and a pointing hand.

This representation of the ‘Philosophia Naturalis’ is from a work of Albertus Magnus (Basel, 1560). The Anthropos and the four elements are placed centrally in a black (moon) and white (sun) cosmos framed in the four sources of knowledge. The sources are symbolized as a balance (holy authority), compass (ratio), art/beauty (human authority) and ruler/rectangle (senses).

A seventeenth century view of the ‘Rebis‘-man in the cosmos. This representation of an androgyn man expresses an alchemistic interpretation of division thinking. The human being is connected with the five planets (Venus-Mars, Mercury, Jupiter-Saturn) and the sun (Sol) and moon (Luna). The man is carrying a compass (Ratio), while the woman holds a rectangle (Sensus). The dragon of darkness is conquered. The (winged) earth – as a reference to Hermes/ Mercury – is divided in four parts. Superimposed on this (weak) division are a square (4) and a triangle (3), indicating the four- and threefold division as the main building stones of the ‘Magnum Opus‘. In: KELLER (1912).

The optic illusion as a medium of artistic expression. To the left: The painting ‘Four Quadrants’ of Malewitsch, 1915. To the right: ‘Black Quadrant‘, around 1913. The fascinating background of visual deception was taken up, at the beginning of the twentieth century, by artists like Kasimir Malewitch (1878 – 1935), Paul Klee (1879 – 1940), Piet Mondriaan (1872 – 1944) and Victor Vaserely (1908 – 1997). They tried to evoke the hidden world behind the optical illusions. Malewitsch’s painting from 1915, titled appropriately the ‘Four Quadrants’, is a good example of the fresh spirit of artistic discovery (fig. 463). The painting four quadrants is a painting of four quadrants but two black and two white. Black quadrant is a Black square but when perceived closely you can tell that it is a quadrant. It is a sort of optical illusion. The painting is very famous and elucidates the quadrant.

The Karnak Temple Complex, commonly known as Karnak (/ˈkɑr.næk/[1]), comprises a vast mix of decayed temples, chapels, pylons, and other buildings. Building at the complex began during the reign of Senusret I in the Middle Kingdom and continued into the Ptolemaic period, although most of the extant buildings date from the New Kingdom. The area around Karnak was the ancient Egyptian Ipet-isut ("The Most Selected of Places") and the main place of worship of the eighteenth dynasty Theban Triad with the god Amun as its head. It is part of the monumental city of Thebes. The Karnak complex gives its name to the nearby, and partly surrounded, modern village of El-Karnak, 2.5 kilometres (1.6 miles) north of Luxor. The complex is a vast open-air museum, and the second largest ancient religious site in the world, after the Angkor Wat Temple of Cambodia. It is believed to be the second most visited historical site in Egypt; only the Giza Pyramids near Cairo receive more visits. It consists of four main parts, of which only the largest is currently open to the general public. The term Karnak often is understood as being the Precinct of Amun-Ra only, because this is the only part most visitors see. The three other parts, the Precinct of Mut, the Precinct of Montu, and the dismantled Temple of Amenhotep IV, are closed to the public. There also are a few smaller temples and sanctuaries connecting the Precinct of Mut, the Precinct of Amun-Re, and the Luxor Temple.

The Giza pyramid complex (Arabic: أهرامات الجيزة, IPA: [ʔɑhɾɑˈmɑːt elˈɡiːzæ], "pyramids of Giza") is an archaeological site on the Giza Plateau, on the outskirts of Cairo, Egypt. This complex of ancient monuments includes the three pyramid complexes known as the Great Pyramids, the massive sculpture known as the Great Sphinx, several cemeteries, a workers' village and an industrial complex. It is located some 9 km (5 mi) inland into the desert[which?] from the old town of Giza on the Nile, some 25 km (15 mi) southwest of Cairo city centre. The pyramids, which have historically loomed large as emblems of ancient Egypt in the Western imagination,[1][2] were popularised in Hellenistic times, when the Great Pyramid was listed by Antipater of Sidon as one of the Seven Wonders of the World. It is by far the oldest of the ancient Wonders and the only one still in existence. There are four major monuments in the Giza pyramid complex. The fourth is different from the previous three. The Pyramids of Giza consist of the Great Pyramid of Giza (also known as the Pyramid of Cheops or Khufu and constructed c. 2560–2540 BC), the somewhat smaller Pyramid of Khafre (or Chephren) a few hundred meters to the south-west, and the relatively modest-sized Pyramid of Menkaure (or Mykerinos) a few hundred meters further south-west. The Great Sphinx lies on the east side of the complex. Current consensus among Egyptologists is that the head of the Great Sphinx is that of Khafre. Along with these major monuments are a number of smaller satellite edifices, known as "queens" pyramids, causeways and valley pyramids

Music Chapter

4 Non Blondes was an American rock band from San Francisco, California,[1] formed in 1989. The group was formed by bassist Christa Hillhouse, guitarist Shaunna Hall, drummer Wanda Day, and vocalist and guitarist Linda Perry. Prior to the release of their first album, Roger Rocha replaced Hall on guitar, and Dawn Richardson replaced Day on drums. They hit the charts in 1993 with "What's Up?", their only major hit single. Perry left the band in 1994 to begin a solo career, and the remaining members disbanded shortly after

The Seasons (German: Die Jahreszeiten) is an oratorio by Joseph Haydn. The Seasons is written for a fairly large late-Classical orchestra, a chorus singing mostly in four parts. The oratorio is divided into four parts, corresponding to Spring, Summer, Autumn, and Winter, with the usual recitatives, arias, choruses, and ensemble numbers. Haydn was Mozarts mentor and was considered the Father of the Symphony" and "Father of the String Quartet". The quartet consists of four stringed instruments. Haydn was the mentor of Mozart and was why Mozart was so proficient with string quartets. The quartet reflects the quadrant. Haydn is known for his work Messiah. Again, art borrows from religious themes as art is the third square form of inquiry and religion is the second, so they are intricately connected. Another religious oratio by Haydn is "the Creation", which celebrates the Creation account of genesis. What is interesting is Haydn stops after the first four days and then moves to movement two. In the region section of this book I describe how the seven days of creation reflect the quadrant model pattern.

Franz Schubert is considered one of the greatest musicians of all time.Franz Schubert's Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four impromptus each: the first was published in the composer's lifetime as Op. 90, and the second was published posthumously as Op. posth. 142. They are now catalogued as D. 899 and D. 935 respectively. They are considered to be among the most important examples of this popular early 19th-century genre.

The tetradic mood took shape in the predilection for the classical sonata. Four-fifth of Beethoven’s music consists of this harmonious form of organization, which could be played by an orchestra or string quartet. Beethoven wrote thirty-two piano sonatas, plus sonatas for cello and piano and violin and piano. The sonata is organized in four parts, expressing the four different ways of communication: 1. A long and slow introduction in the main key, in which a second theme is introduced; 2. A slow part in a contrasting key (Andante, Allegro or Largo); 3. A minuet or gay dance in three-quarter mode. Within the minuet is a trio. 4. A fast dancing finale (Molto allegro) in rondo, with a repetition of the theme. The majority of the musical compositions of Haydn, Mozart en Beethoven followed this pattern and their work is, either conscious or unconscious, a tribute to the four-fold way of thinking.

Frédéric Chopin's four ballades are one-movement pieces for solo piano, composed between 1831 and 1842. They are some of the most challenging pieces in the standard piano repertoire. There are dramatic and dance-like elements in Chopin's use of the genre, and he may be said to be a pioneer of the ballade as an abstract musical form. The four ballades are said to have been inspired by poet Adam Mickiewicz.The exact inspiration for each individual ballade, however, is unclear and disputed. The ballades are considered an innovation of Chopin's and cannot[citation needed] be placed into another form (e.g. sonata). Though they do not conform exactly to sonata form, the "ballade form" created by Chopin for his four ballades is a distinct variant of sonata form with specific discrepancies, such as the mirror reprise (presenting the two expositional themes in reverse order during the recapitulation). The ballades have directly influenced composers such as Franz Liszt and Johannes Brahms who, after Chopin, wrote ballades of their own. The four ballades are among the most enduring of Chopin's compositions and are frequently heard in concerts. They have been recorded many times. J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme".

The term "four-part harmony" refers to music written for four voices, or four musical instruments, or a keyboard instrument, or some other medium, where the various parts give a different note of each chord of the music. Typically, the first of the four parts will sing (or play) the melody, with the other three parts providing the supporting harmonies. It is unusual for any of the four parts to share the same pitch, although it happens at times. Notice how three do the harmony and one does the melody. The fourth is always different. The four main voices are typically labelled as: soprano (or treble), alto (contralto or countertenor), tenor, and bass. Because most singers have a relatively limited range, the upper notes of the soprano or tenor part cannot be sung by a bass singer.[3] Conversely, the lower notes of the bass part typically cannot be reached by a soprano voice, with some notes so low that alto and tenor voices cannot reach them either. Groups of just four people, singing as quartets, can perform in four-part harmony

Barbershop quartets, originally from English-speaking North America, usually consist of four men or women who sing first tenor (called tenor), second tenor (called lead), baritone, and bass parts. A barbershop quartet typically sings with extra focus on emphasizing or exaggerating the harmonies in a piece of music, rather than singing in quiet supporting roles. The supporting voices can provide counter-melodies, close harmonies, or a walking bass to the melody line, which is sung in a middle voice. The harmonies are typically rooted in the chromatic aesthetics of early 20th-century popular music.

Cantu a tenore is a Sardinian style, traditionally sung by men, wherein the second highest voice sings the melody, which the other voices accompany with a chant using nonsense syllables.

The gospel quartet of the United States sings Christian material of a similar style to barbershop quartets, but may also include spirituals and traditional hymns.

A Croatian klapa consists of four male parts, sometimes doubled, with the melody sung freely by a middle voice.

Some music is written, in four-part harmony, for small groups of only four instruments, such as a string quartet, a brass quartet, or a woodwind quartet. Each instrument could be scored to mimic the four voices of choral music.[clarification needed] However, due to the range of musical instruments covering more pitches than a typical human voice, a quartet might play some harmonies with very high notes or very low notes, rather than the blended range of choral music.[original research?] Beyond quartets, in large orchestras or musical bands, the larger sections of instruments, such as violins, cellos, clarinets, flutes, trumpets, or French horns often have music written in four-part harmony.[dubious – discuss] Similar to vocal music, the first part for a section of instruments typically plays the melody line, in some passages of a composition, with the other parts playing the supporting harmonies. The third part is often a harmonic mirror of the first part, which will sound somewhat melodic as well (if played separately). However, the second and fourth parts usually play close harmonies, in a more monotonous range, and rarely sound as melodic as the third part. Because musical instruments typically have a wider range than a human voice, any instrument in each section of a band or orchestra is able to play any of the four parts, although the first part often has high notes, or faster notes, that only a more experienced musician can play well.[original research?]

Dance Chapter

Four-cross (4X), also called mountain-cross, not to be confused with fourcross, is a relatively new style of mountain bike racing where four bikers race downhill on a prepared, BMX like, track, simply trying to get down first. These bikes are generally either full suspension with 3 to 4 inches of travel, or hardtails, and typically have relatively strong frames. They run a chainguide on front and gears on the back. They have slack head angles, short chainstays and low bottom brackets for good cornering and acceleration. In recent years the tracks raced on have been rougher and less like those used in BMX.

Abhinaya (Sanskrit abhi- 'towards' + nii- 'leading/guide') is the art of expression in Indian aesthetics. More accurately it means "leading an audience towards" the experience (bhava) of a sentiment (rasa). The concept, derived from Bharata Muni's Natya Shastra, is used as an integral part of all Indian classical dance styles.

Types of Abhinaya are four in number according to the natya shastra and they are: Angika abhinaya, Vanchika abhinaya, Aharya abhinaya and sattvika abhinaya

The Natya Shastra (Sanskrit: नाट्य शास्त्र, Nāṭyaśāstra) is an ancient Indian treatise on the performing arts,

Angika Abhinaya

This relates to body movement. How the thing is to be expressed is portrayed by movement of the anga or limbs which include facial expressions. Abhinaya has different schools with the expressions ranging from the grotesque to the understated, from the crude to the refined. Angika abhinaya forms either Padartha abhinaya or Vaakyartha abhinaya. Padartha Abhinaya is when the artiste delineates each word of the lyrics with gestures and expressions. Vaakyartha abhinaya is where the dancer acts out an entire stanza or a sentence.

Vachika Abhinaya This is regarding how relates to how expression is carried out through speech. It is used more overtly in drama. In music also this is employed. Traces of it are preserved in dance forms of Kuchipudi and Melattur style of Bharatanatyam where the dancers often mouth the words of the songs to support Padartha abhinaya. There are some art forms in Kerala that still has on stage art forms: Koodiyattam, Nangyar Kooothu, Ottan, Seetangan & Parayan. Sattvika Abhinaya Aharya Abhinaya The costumes and physical decorations of the actors and the theatre are other means of representation of the play. The decoration of the stage theatre which include lights and accessories related to the scene enhances the rasa between the audience and artists comes under this category. This abhinaya is very prominent in kathakali where there are different dress and makeup for different characters. Sattvika Abhinaya Sattvika Abhinaya is confused with facial expressions that belong to angika Abhinaya. This Abhinaya is the mental message, emotion or image communicated to the spectators through eyes. The dancer has to bring their own authentic experiences that would capture the attention of the audience.

In tennis, the term Big Four refers to the quartet of men's singles players Roger Federer, Rafael Nadal, Novak Djokovic, and Andy Murray. They reigned as the four best players in the world every season from 2008–2013. These players were considered dominant in terms of ranking and tournament victories, including Grand Slam tournaments and ATP Masters 1000 events, as well as the ATP World Tour Finals and Olympic Games through 2013.

Four square, also known as handball, downball, squareball, blockball, boxball, champ or king's square, is a ball game played among four players on a square court divided into quadrants. It is a popular game at elementary schools with little required equipment, almost no setup, and short rounds of play that can be ended at any time. Four square is usually played with a rubber playground ball, on a square court with four maximum players. The objectives of four square are to eliminate other players to achieve the highest rank.

Russian four square was started in the Soviet Union. Russian four square is a variation of the Russian game Квадрат (square). Each square that was divided is a position for the players: 1st: Peasants square 2nd: Duke's square 3rd: Prince's square 4th: King's square

Four square, also known as handball, downball, squareball, blockball, boxball, champ or king's square, is a ball game played among four players on a square court divided into quadrants. It is a popular game at elementary schools with little required equipment, almost no setup, and short rounds of play that can be ended at any time. Four square is usually played with a rubber playground ball, on a square court with four maximum players. The objectives of four square are to eliminate other players to achieve the highest rank.

Literature chapter

I discussed the four kingdoms of Daniel are four kingdoms which, according to the Book of Daniel, will precede the "end-time" and the "Kingdom of God". They are gold, silver, bronze, and iron. This is also a common trope in art.

In India the four ages are related to the four metals. The four metals are related to gold- happiness (the first square nature), silver (fire), bronze (doubt) (the third is always bad), and iron sorrow.

I discussed the Greek epic poet Hesiod of Ascra propagated the myth, in his poem ‘Erga’ (Works and Days, eighth century BC.), in the European cultural realm. The Roman Ovidius, living at the beginning of the Christian era, retold the story in his ‘Metamorphoses’. The division of the world history in four units and their characterization by metals remained a cultural theme since. The four ages are, in their elementary form, recorded at the beginning of Book I of the ‘Metamorphoses’:

Age of: Gold the ‘aetas aurea‘, ruled by justice; (the first square is good and homeostasis)

Silver no offerings to the gods; establishment of the four seasons; building of shelters; (this square is homeostasis where there is the building of shelters and establishment of seasons)

Bronze period of war; warlike and recklessness (the third square is always bad and is the doing square) Iron chaos and injustice, disaster is looming; division of the land (the fourth square is often seen as evil and death. It does not seem to belong) The four ages of Hesiod is another common art feature.

The synthesis was found in Eliot’s composition of the ‘Four Quartets’. According to PERL (1984, p. 96), ‘each quartet represents a mode, a season, of thought and sensibility, which repeats itself in the lives of nations, traditions, and individuals’. From ‘Burnt Norton’ to ‘Little Gidding’ was a journey through time, a process of return and reunion: ‘Romanticism and neo-classicism, sensation and reason, energy and style, spirit and letter, spirit and matter, the universal and particular, the abstract and the concrete, the poetic and the prosaic, the ultimate and the conventional, the fire and the rose are one.’

The distinction between opposites and their battle is, in the end (or beginning), the result from a mistake of perception. The over-emphasis of dualism, so typical for the Third Quadrant (or ‘Dry Salvages’ in Eliot’s nomenclature), leads to a false synthesis. This stage is, in Eliot’s words (The Use of Poetry, p. 81), ‘a period of apparent stabilization, which was shallow and premature’. Images of the nineteenth century, a childhood view of romanticism and Victorianism dominated the ‘Dry Salvages’. It was also a time of strangeness of reality, uncertainties and unpleasant facts.

The final part of the quartet (‘Little Gidding’) offered an understanding of the previous perceived opposition between the romantic intensity and neo-classical discipline: ‘In becoming the present, the past has come full circle with the future – this is the essence of the historical ‘process of return’, of the historical outlook that Eliot associates with the word ‘classicism’

The early nineteenth century was searching for new spiritual ground. The poem of William Blake, titled ‘The Four Zoas‘ (written between 1796 and Blake’s death in 1827) was such an effort. The poem described his own mythology in eleven parts (Night I – XI)(WILKIE & JOHNSON, 1978). Blake devised a universe of four Zoas (spheres), being representative of the primordial human qualities (fig. 217). The Four Zoas were gathered around the throne of Albion (the archetypal human being). Within the ‘Mundane Egg‘ (the white part in fig. 217) there is a clash between Urizen (Ratio), Luvah (Passion) and Tharmas (Instinct), which is reconciled by the forces of Imagination in Urthona (the capacity to be creative and imaginative). Four Mighty Ones are in every Man: a Perfect Unity Cannot Exist. but from the Universal Brotherhood of Eden The Universal Man. To Whom be Glory Evermore Amen

One method to be used for in-depth literary analysis is Dante’s Fourfold method. Dante (full name Dante Allegheri, an Italian poet, 1265-1321) believed that texts can be interpreted on four different levels: the literal or historical level, the political level, the moral or psychological level, and the spiritual level.The literal or historical level examines what is actually happening in the story on a surface level. To completely understand the literal level, one must also understand the historical context of the story.Helpful questions: What events in the book make reference to how life really was in South Africa during apartheid? Find examples of the following: living conditions, education of natives, salary, unjust laws, typical jobs, political movement, and crime. As the novel progresses, consider the idea that the characters in this book symbolize different groups of South African people. Who might the following characters represent? Stephen, John, Gertrude, Gertrude’s son.The political level is the level on which human beings relate to others in a community and in the world.Helpful Questions: What evidence is there of the breakdown of the tribal community? What is being done in the cities to offset the breakdown of the tribal community? What is the relationship between Stephen Kumalo and his sister, his brother, and his son? Who has the power in South Africa? Using examples from the book, explain how it is possible for a minority group to maintain power.The moral or psychological level is the way in which the self relates to the realm of ethics – the struggle of one’s conscience.Helpful Questions: What internal struggles has Stephen Kumalo faced so far? Find evidence of John Kumalo’s struggle with his conscience. Find evidence of Gertrude’s struggle with her conscience. Find evidence that white citizens struggle with their conscience. Find evidence that black citizens struggle with their conscience.The spiritual level is the universal level on which a person relates to the cosmos, the way of the pilgrim soul – an examination of the human’s role in the grand scheme of things.Helpful Questions: Why does Paton continuously hint at the beauty of the South African land? How does Paton use the character of John Kumalo to show the corruption of the natives? Why is there a loss of faith by some natives? Are they justified in feeling this way? Is there any indication that Paton supports this point of view? What is the purpose of having Steven Kumalo, the protagonist of the story, be a reverend? Find examples of his faith. Find examples of his doubt.

The Four Great Medieval Allegories were Le Roman de la Rose. A major allegorical work, it had many lasting influences on western literature, creating entire new genres and development of vernacular languages. The Divine Comedy. Ranked amongst the greatest medieval works, both allegorically and as a work of literature; was (and remains) hugely popular. Piers Plowman. An encyclopedic array of allegorical devices. Dream-vision; pilgrimage; personification; satire; typological story structure (the dreamer's progress mirrors the progress of biblical history from the Fall of Adam to Apocalypse). Pearl. A plot based on an anagogical allegory; a dreamer is introduced to heavenly Jerusalem. Focus on the meaning of death. A religious response to Consolation of Philosophy.

There are four basic typographic alignments: flush left—the text is aligned along the left margin or gutter, also known as left-aligned, ragged right or ranged left; flush right—the text is aligned along the right margin or gutter, also known as right-aligned, ragged left or ranged right; justified—text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins, also known as fully justified or full justification; centered—text is aligned to neither the left nor right margin; there is an even gap on each side of each line. Note that alignment does not change the direction in which text is read; however text direction may determine the most commonly used alignment for that script.

The Big Four is a work of detective fiction by Agatha Christie, first published in the UK by William Collins & Sons on 27 January 1927[1] and in the US by Dodd, Mead and Company later in the same year. It features Hercule Poirot, Arthur Hastings, and Inspector (later, Chief Inspector) Japp. The UK edition retailed at seven shillings and sixpence (7/6)and the US edition at $2.00. The structure of the novel is different from other Poirot stories, as it began from twelve short stories (eleven in the US) that had been separately published. This is a tale of international intrigue and espionage, therefore opening up the possibility of more spy fiction from Christie. In the storyPoirot's agents return from their work of identifying Number 4 and produce four names. A Mr Claud Darrell looks suspicious as he has visited both China and America. Very soon, Darrell's friend, Florence Monro, calls Poirot for information about Darrell. She mentions one important point, that when he eats he always picks up a piece of bread and dabs up the crumbs with it. She promises to send him a photo of Darrell. Twenty minutes later Miss Monro is hit by a car and killed, and Number Four has stolen the photograph. Poirot, Hastings and Ingles meet with the Home Secretary and his client. Ingles leaves for China, and Poirot reveals an odd fact – he has a twin brother. The two arrive home to a nurse who says that her employer, Mr Templeton, often has gastric attacks after eating. When a sample of soup is tested and found to contain antimony, they set off again. The arrival of Templeton's adopted son causes a disturbance; he tells Poirot that he thinks his mother is trying to poison his father. Poirot pretends to have stomach cramps, and when he is alone with Hastings, he quickly tells him that Templeton's son is Number Four, as he dabbed up the crumbs with a small slice of bread at the table. The two climb down the ivy and arrive at their flat. The two are caught by a trap; a matchbox filled with a chemical explodes knocking Hastings unconscious and killing Poirot. The fourth is always different and does not seem to belong A Multiethnic gang of four persons working towards world domination.[7] They have a secret hideaway in a quarry of the Dolomites. It is owned by an Italian company which is a front company for Abe Ryland. The quarry conceals a vast subterranean base, hollowed out in the heart of the mountain. From there they use the wireless to transfer orders to thousands of their followers across many countries. The characters comprise typical ethnic and national stereotypess of 1920s British fiction. They are: Abe Ryland, the so-called American Soap King. He is stated to be richer than John D. Rockefeller and being the richest man in the world. Early in the novel, Ryland attempts to hire Poirot and invites him to Rio de Janeiro, allegedly to investigate the goings-on in a big company there. Poirot is offered a fortune and is tempted to accept. He eventually declines and the plot point is no longer elaborated. Presumably Ryland intended to recruit him for the organization. He dies when the hidden base of the Four explodes. He represents the power of wealth. Madame Olivier, a French woman scientist. She is stated to be a famous Nuclear physicist and analytical chemist. Poirot suspects that she has kept secret the true extent of her research with nuclear power. He believes that she has "succeeded in liberating atomic energy and harnessing it to her purpose." She is said to have used gamma rays emitted by radium to perfect a lethal weapon. She is a widow. She used to work with her husband, conducting their research in common until his death. She is said to look more like a priestess out of the past than a modern woman. She dies when the hidden base of the Four explodes. She represents scientific research devoted to political goals. Li Chang Yen, the Chinese leader and mastermind of the group. He is an unseen character who never steps foot out of China, but is discussed often by other characters. He is driven by his own lust for power and the need to establish his personal supremacy. He lacks the military force to pursue conquest by traditional means, but the 20th century is stated to be a century of unrest which offers him other means towards him goal. He is said to have unlimited money to finance operations. His methods include bribery and propaganda. He controls a "scientific force more powerful than the world has dreamed of. It is said that "the men who loom most largely in the public eye are men of little or no personality. They are marionettes who dance to the wires pulled by a master hand, and that hand is Li Chang Yen's". He is the power behind the throne of the East. He is the embodiment of Yellow Peril. His plots are said to include worldwide unrest, labor disputes in every nation, and revolutions in some of them. Elsewhere it is explained that he is a mandarin and lives in a palace of his own in Peking. He oversees human subject research on coolies, with no regard for the death and suffering of his research subjects. He commits suicide at the end. Claude Darrell, known as the Destroyer. He is an obscure English actor and a master of disguise. He is the chief assassin of the group, said to have the finest criminal brain ever known. He appears with ever-changing faces and multiple identities throughout the novel. He can totally transform his physical appearance and his persona. Many of the novel's characters are known or suspected to be among the roles Darrell plays. Darrell is described as being around 33 years old, brown-haired, having a fair complexion, gray-eyed. His height is given at 5 ft. 10 in (1.78 meters). His origins are mysterious. He played at music halls, and also in Repertory plays. He has no known intimate friends. He was in China in 1919. Returned to the United Kingdom by way of the United States. Played a few parts in New York. Did not appear on the stage one night, and has never been heard of since. New York police say his is a most mysterious disappearance. Darnell has one weakness that can give his real identity away. When he dines, Darnell habitually rolls pieces of bread into little balls. He dies when the hidden base of the Four explodes. He is also effectively a spy and represents the secret services and intelligence agencies. The Big Four was released by HarperCollins as a graphic novel adaptation on 3 December 2007, adapted and illustrated by Alain Paillou (ISBN 0-00-725065-7). This was translated from the edition first published in France by Emmanuel Proust éditions in 2006 under the title of Les Quatre.

The Egyptian Books of the Dead from the Saite period tend to organize the Chapters into four sections: Chapters 1–16 The deceased enters the tomb, descends to the underworld, and the body regains its powers of movement and speech. Chapters 17–63 Explanation of the mythic origin of the gods and places, the deceased are made to live again so that they may arise, reborn, with the morning sun. Chapters 64–129 The deceased travels across the sky in the sun ark as one of the blessed dead. In the evening, the deceased travels to the underworld to appear before Osiris. The third square is always doing. Chapters 130–189 Having been vindicated, the deceased assumes power in the universe as one of the gods. This section also includes assorted chapters on protective amulets, provision of food, and important places. The fourth square is always transcendent.