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SWASTIKA POSE
http://www.yogicwayoflife.com/swastikasana-the-auspicious-pose/
Swastikasana – The Auspicious Pose
Yoga Practices
Swastikasana or the Auspicious Pose is an easy meditation pose for those who cannot attempt the more difficult asanas like Padmasana and Siddhasana. The India symbol of Swastika is a symbol of auspiciousness. In Swastikasana, the position of the legs resemble the symbol of the Swastika. The word Swastika comes from the Sanskrit root words – ‘Su’ meaning good, ‘Asti’ means ‘to be’ or ‘existence’ and ‘Ka’ means to make. This asana can be described as one that helps to realize the unity of existence.
Swastikasana is relatively easy to perform and can be used for meditative purposes and for prolonged sitting.
Swastikasana_Auspicious_Pose_Yoga_Asana
How to do Swastikasana (The Auspicious Pose)?
Sit on the floor with legs spread out in front of you.
Fold the left leg and place the sole of the left leg against the inner thigh of the right leg.
Bend the right leg and place the right foot in the space between the left thigh and calf muscles.
Grasp the left foot by the toes and pull it up and place it between the right calf and thigh.
The knees should firmly touch the floor.
Adjust the pose so that you feel comfortable.
Keep the body and trunk straight.
The hands can be placed on the knees in any of the classical meditation mudras like Chin mudra or Jnana mudra.
Awareness can be maintained on the breath. One may also concentrate on the tip of the nose or the eye brow center depending on the type of meditation technique.
Swastikasana should not be done by hose suffering from sciatica and sacral infections.
Benefits of Swastikasana (the Auspicious Pose)
Swatikasana is a good meditation pose for those who find it difficult to sit in more classical poses like Padmasana and Siddhasana.
Even those suffering from varicose veins and aching leg muscles can sit in Swastikasana.
SWASTIKA YOGA
https://www.yogajournal.com/practice/open-arms
1. Eka Bhuja Swastikasana I
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In One-Armed Swastika Pose I, your body looks like one of the crosspieces of the ancient Asian symbol of good luck.
To come into the pose, lie face-down with your arms stretched out perpendicular to your sides, palms down. Make sure your hands are level with your forehead rather than stretched straight out from your shoulders. On an exhalation, without moving your right arm, roll onto your right side and reach your left hand straight back toward your right one. Bend your left knee and bring the sole of your foot to the floor. Draw your spine long, extending down through your tailbone toward your feet and up through the crown of your skull, and turn your head to the left so you look up toward the ceiling. (If this neck position isn't comfortable, experiment until you find one that is.)
If you already experience a strong stretch where your inner upper right arm meets your chest, pause here, breathing smoothly and evenly and allowing the stretched muscles to relax. If you're comfortable stretching further, bend your right knee and place the sole of your right foot on the ground next to your left; then lift your right fingers up and reach your left hand back to grasp them. (It's normal to fumble and feel disoriented at first as you reach for your right fingers.)
Either reach your left fingers straight down along your right ones and draw your right hand back toward your body, or for more of a stretch to your left shoulder, grasp your right palm from the thumb side to draw it back, and bend your left elbow down toward or even onto the floor.
Once you find an edge in your stretch, pause and breathe smoothly and evenly for 15 to 45 seconds, then gently release your hands, roll back onto your belly and chest, and straighten your legs. Pause to notice and absorb the changes in your body before performing the pose on the other side.
2. Eka Bhuja Swastikasana II
Image placeholder title
To come into One-Armed Swastika Pose II, lie face-down with your arms reaching straight up overhead and your palms on the ground, shoulder-width apart. To keep your body integrated and engaged as you enter the arm stretch, place the inner edges of your big toes together and extend energy down through your tailbone and legs and up through the crown of your head. On an inhalation, draw your elbows in toward your torso until they're almost underneath your shoulders, and rise up into a mild Sphinx Pose.
As you exhale, reach your right hand across your body to the left, crossing behind your left elbow, and bring your right palm to the floor straight out to the side from your left shoulder. Gently lower your shoulders until your whole right arm is touching the ground and your chin comes to the floor in front of your upper arm, then swing your left arm down along your side and rest the back of the hand on the floor. Press your weight into your right arm to stretch the outer upper arm and shoulder. Press your left shoulder toward the floor to accentuate the stretch.
SHOSTAKOVICH FOUR NOTE MOTIF LIKE BACHS FOUR NOTE MOTIF
https://www.tumblr.com/search/dsch%20motif
Russian composer Dmitri Shostakovich often used a four-note motif in many of his musical works to represent himself. The four notes, D-Eb-C-B, correspond to the German notation D-Es-C-H, chosen to match the German transcription of the composer’s name, Dmitri Schostakowitsch.
https://www.youtube.com/watch?v=OzV63IRR8BQ&feature=share
The famous macarena dance
at 1:30 you cross your hands during the macarena
​
at 2:10 you cross your hands over hips making cross again
​
The famous dance is also done in the four directions with arms going out at each ultimately making a quadrant/cross
I'm a paragraph. Click here to add your own text and edit me. It's easy.
AT 1:40 THE CHA CHA SLIDE YOU "CRISS CROSS" TWICE
THE FAMOUS COTTON EYE JOE IS A FOUR LINE SONG AND THE DANCE IS A FOUR WALL LINE DANCE WITH FOUR STEPS LEFT FOUR STEPS RIGHT FOUR HOPS BACK AND JUST SERIES OF FOURS IN THE FOUR DIRECTIONS
https://www.youtube.com/watch?v=qe82TsL3phA
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COTTON EYED JOE QUATRAINS
If it hadn't been for Cotton-Eye Joe
I'd been married a long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
[x6]
He brought disaster wherever he went
The hearts of the girls was to Hell, broken, sent
They all ran away so nobody would know
And left only men 'cause of Cotton-Eye Joe
If it hadn't been for Cotton-Eye Joe
I'd been married a long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
[x2]
He brought disaster wherever he went
The hearts of the girls was to Hell, broken, sent
They all ran away so nobody would know
And left only men 'cause of Cotton-Eye Joe
If it hadn't been for Cotton-Eye Joe
I'd been married a long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
THE FOURTH MEMBER OF THE GROUPS IS ALWAYS DIFFERENT THE FIFTH QUESITONABLE- I DESCRIBED THAT I USED TO HAVE THE CHARTS THAT SHOWED THE MEMBERS OF EACH GROUP AND THE DATES THEY WERE MEMBERS AND IT WAS ALWAYS A THREE PLUS ONE PATTERN THE FOURTH MEMBER DIFFERNET
https://en.wikipedia.org/wiki/Spice_Girls
On 31 May 1998, Halliwell announced her departure from the Spice Girls. Through her solicitor she stated: "Sadly I would like to confirm that I have left the Spice Girls. This is because of differences between us. I'm sure the group will continue to be successful and I wish them all the best."[67] Halliwell claimed that she was suffering from exhaustion and wanted to take a break. Rumours of a power struggle with Brown as the reason for her departure were circulated by the press.[15][68] Halliwell's departure from the group shocked fans and became one of the biggest entertainment news stories of the year,[69] making news headlines the world over. Halliwell went on to launch an initially successful solo career.
The four remaining members were adamant that the group would carry on and that their approaching North American tour would continue as normal. However, Halliwell's departure threw most of the group's plans into disarray. It also meant that most of the material the group had recorded throughout the first half of 1998 at Dublin's Windmill Lane Studios with longtime collaborators Richard Stannard and Matt Rowe was scrapped. A rumoured animated venture by Disney also failed to materialise.[citation needed]
Halliwell's departure was the subject of a lawsuit by Aprilia World Service B.V. (AWS), a manufacturer of motorcycles and scooters. On 9 March 1998, Halliwell informed the other members of the group of her intention to withdraw from the group, yet the girls signed an agreement with AWS on 24 March and again on 30 April and participated in a commercial photo shoot on 4 May in Milan, eventually concluding a contract with AWS on 6 May 1998. The Court of Appeal of England and Wales held that their conduct constituted a misrepresentation by giving the impression that Halliwell intended to remain part of the group in the foreseeable future, allowing AWS to rescind their contract with the Spice Girls. This is now the leading case in English law on misrepresentation by conduct.[70][71]
"Viva Forever" was the last single released from Spiceworld. The video for the single was made before Halliwell's departure and features the girls in stop-motion animated form, as there was no time to produce a video due to the world tour schedule. Originally planned as a double A-side with "Never Give Up on the Good Times", the idea was mainly as there was no time to re-record and edit out Halliwell's vocals or make a video for the track. The North American tour began in West Palm Beach on 15 June, and grossed $60 million over 40 sold-out performances.[15]
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https://en.wikipedia.org/wiki/File:Spicegirls-holler.JPG
https://en.wikipedia.org/wiki/Spice_Girls
The Spice Girls as a four-piece performing "Holler" in Cologne, Germany at the Return of the Spice Girls tour.
SPICE GIRLS AND THE FOUR ELEMENTS
http://www.mtv.com/news/1434431/spice-girls-slot-november-date-for-third-lp/
"Sporty Spice" Mel C. told the BBC's Radio One in Britain that the first single in the U.K. will be a double A-side featuring songs titled "Let Love Lead The Way" and "Holla Holla." The Spice Girl told the network that the group has also shot a video in which each member of the foursome plays one of the four elements (fire, water, air, and earth) which come together to make the world as well as the group.
FOUR SPICE GIRLS REPRESENT FOUR ELEMENTS
https://en.wikipedia.org/wiki/Holler_(Spice_Girls_song)
https://en.wikipedia.org/wiki/Holler_(Spice_Girls_song)
The music video was shot on 27–28 July 2000, and was directed by Jake Nava.[19] It begins zooming into a seemingly glass pyramid where the four girls are dancing on a square platform in a circle. Each of the four girls represents a different element. The first verse is sung by Brown, who represents fire as she sits in a dark room with fire rolling along the floor. Chisholm is seen levitating above cracked mud inside a room with wooden walls as the floor blooms into plant life; she represents earth. Bunton is wearing a short blue dress with a white coat and is dancing in a blue room under water with reflections boucing off the walls. Finally Beckham, who embodies the element of air, is seen inside a wind tunnel playing with shiny prisms as they are blown by. All the girls are then seen together in the pyramid watching their respective male dancers (who are seen in each of their solo shots) dancing on the square platform. In Chisholm's solo room, a piece of wood is changed into a white python. Finally by the end of the song, all four girls join hands and form a beam of energy which then shoots out the top of the pyramid clearing up a cloudy stormy sky. The girls embrace in a hug and the video ends.
SPICE GIRLS AND THE FOUR ELEMENTS
https://en.wikipedia.org/wiki/Let_Love_Lead_the_Way
The music video was shot on 17 July 2000. The video is similar in concept to that of "Holler" where each of the girls portray one of the four elements. Though this time, Chisholm switches elements with Bunton, representing earth and wearing a green dress. She is shown reclining in a beautiful forest, underneath a large tree. Brown switches elements with Beckham and portrays the element air, dressed entirely in white and dancing in a white room with the canvas walls billowing outwards as if being blown by the wind, while white feathers continuously fall from the sky. Beckham is wearing a dark red dress, representing fire. She is slowly dancing in a barren desert at night, with bursts of fire flaring up behind her. Chisholm plays the part of water, dressed in predominantly blue clothes. She is standing on a blue platform as water cascades from the ceiling to the floor. Throughout the verses of the song, the girls sing in their own areas, before coming together in one of the rooms for the chorus. Towards the end of the song, each of the elements begin to mix, such as water falling down in the fiery desert and wind blowing through the forest. The four girls are then seen singing together in the desert where all the elements are present plus a shower of sparks behind the girls. The song finishes with a slow-motion shot of each of the girls in their own areas, and then a final shot of each of them together in the white room. A behind-the-scene footage was shown in July 2000 on CD:UK.
I POSTED ALL OF THIS STUFF A LONG TIME AGO- I MENTIONED I USED TO HAVE THE CHARTS THAT SHOWED MEMBERS FOR ALL OF THE GROUPS FOR ALL OF THE BIG GROUPS IT WAS THREE PLUS ONE PATTERNS. IN BACKSTREET BOYS AGAIN THE FIFTH MEMBER WAS QUESTIONABLE LEAVING- THE FOURTH IS ALWAYS DIFFERNET FIFTH IS QUESTIONABLE
On June 23, 2006, it was announced that Richardson had left the Backstreet Boys to pursue other interests.[90] Both Richardson and the rest of the group issued a statement on their official site, stating that he departed amicably and the door was always open for him to return.[91] Following Richardson's departure, the group was suggested to change their name to Backstreet, but they decided against it.[92] They also turned down an offer to star in a reality show to find a new member[92] and musicians who had expressed interest in replacing Richardson, such as Sam Licata[93][94] and former NSYNC members Lance Bass and Joey Fatone,[95] stating that they weren't planning to replace him.
Backstreet Boys performing without Richardson on Unbreakable Tour.
https://en.wikipedia.org/wiki/File:BSB_Stockholm08.jpg
https://en.wikipedia.org/wiki/Backstreet_Boys
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TRIGRMAMATON V TETRAGRAMMATON DYNAMIC THREE FOUR
http://www.sacred-texts.com/jud/tku/tku04.htm
IHV is of course the Tetragrammaton without the final H. It is interesting to note that in the qabalistical work called the "Sepher Yetzirah," this trigrammatic name is used instead of the Tetragrammaton.
Backstreet Boys performing without Richardson on Unbreakable Tour.
FOUR FREEDOMS
https://en.wikipedia.org/wiki/Four_Freedoms
The Four Freedoms were goals articulated by United States President Franklin D. Roosevelt on Monday, January 6, 1941. In an address known as the Four Freedoms speech (technically the 1941 State of the Union address), he proposed four fundamental freedoms that people "everywhere in the world" ought to enjoy:
Freedom of speech
Freedom of worship
Freedom from want
Freedom from fear
FOUR FREEDOMS PAINTINGS
https://en.wikipedia.org/wiki/Four_Freedoms_(Norman_Rockwell)
The Four Freedoms is a series of four 1943 oil paintings by the American artist Norman Rockwell. The paintings—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—are each approximately 45.75 inches (116.2 cm) × 35.5 inches (90 cm),[1] and are now in the Norman Rockwell Museum in Stockbridge, Massachusetts. The four freedoms refer to President Franklin D. Roosevelt's January 1941 Four Freedoms State of the Union address in which he identified essential human rights that should be universally protected.[2][3] The theme was incorporated into the Atlantic Charter,[4][5] and became part of the charter of the United Nations.[6] The paintings were reproduced in The Saturday Evening Post over four consecutive weeks in 1943, alongside essays by prominent thinkers of the day. They became the highlight of a touring exhibition sponsored by The Post and the U.S. Department of the Treasury. The exhibition and accompanying sales drives of war bonds raised over $132 million.[7]
THE FOUR EMBER DAYS
http://acatholiclife.blogspot.com/2006/09/ember-days.html
Ember days (corruption from Lat. Quatuor Tempora, four times) are the days at the beginning of the seasons ordered by the Church as days of fast and abstinence. They were definitely arranged and prescribed for the entire Church by Pope Gregory VII (1073-1085) for the Wednesday, Friday, and Saturday after 13 December (S. Lucia), after Ash Wednesday, after Whitsunday, and after 14 September (Exaltation of the Cross). The purpose of their introduction, besides the general one intended by all prayer and fasting, was to thank God for the gifts of nature, to teach men to make use of them in moderation, and to assist the needy. The immediate occasion was the practice of the heathens of Rome. The Romans were originally given to agriculture, and their native gods belonged to the same class.
At the beginning of the time for seeding and harvesting religious ceremonies were performed to implore the help of their deities: in June for a bountiful harvest, in September for a rich vintage, and in December for the seeding; hence their feriae sementivae, feriae messis, and feri vindimiales. The Church, when converting heathen nations, has always tried to sanctify any practices which could be utilized for a good purpose. At first the Church in Rome had fasts in June, September, and December; the exact days were not fixed but were announced by the priests. The "Liber Pontificalis" ascribes to Pope Callistus (217-222) a law ordering: the fast, but probably it is older. Leo the Great (440-461) considers it an Apostolic institution. When the fourth season was added cannot be ascertained, but Gelasius (492-496) speaks of all four. This pope also permitted the conferring of priesthood and deaconship on the Saturdays of ember week--these were formerly given only at Easter.
Before Gelasius the ember days were known only in Rome, but after his time their observance spread. They were brought into England by St. Augustine; into Gaul and Germany by the Carlovingians. Spain adopted them with the Roman Liturgy in the eleventh century. They were introduced by St. Charles Borromeo into Milan. The Eastern Church does not know them. The present Roman Missal, in the formulary for the Ember days, retains in part the old practice of lessons from Scripture in addition to the ordinary two: for the Wednesdays three, for the Saturdays six, and seven for the Saturday in December. Some of these lessons contain promises of a bountiful harvest for those that serve God.
From Catholic Culture:
Since man is both a spiritual and physical being, the Church provides for the needs of man in his everyday life. The Church's liturgy and feasts in many areas reflect the four seasons of the year (spring, summer, fall and winter). The months of August, September, October and November are part of the harvest season, and as Christians we recall God's constant protection over his people and give thanksgiving for the year's harvest.
The September Ember Days were particularly focused on the end of the harvest season and thanksgiving to God for the season. Ember Days were three days (Wednesday, Friday and Saturday) set aside by the Church for prayer, fasting and almsgiving at the beginning of each of the four seasons of the year. The ember days fell after December 13, the feast of St. Lucy (winter), after the First Sunday of Lent (spring), after Pentecost Sunday (summer), and after September 14 , the feast of the Exaltation of the Holy Cross (fall). These weeks are known as the quattor tempora, the "four seasons."
Since the late 5th century, the Ember Days were also the preferred dates for ordination of priests. So during these times the Church had a threefold focus: (1) sanctifying each new season by turning to God through prayer, fasting and almsgiving; (2) giving thanks to God for the various harvests of each season; and (3) praying for the newly ordained and for future vocations to the priesthood and religious life.
INLINE FOUR
https://en.wikipedia.org/wiki/Inline-four_engine
The inline-four engine or straight-four engine is a type of inline internal combustion four-cylinder engine with all four cylinders mounted in a straight line, or plane along the crankcase. The single bank of cylinders may be oriented in either a vertical or an inclined plane with all the pistons driving a common crankshaft. Where it is inclined, it is sometimes called a slant-four. In a specification chart or when an abbreviation is used, an inline-four engine is listed either as I4 or L4 (for longitudinal, to avoid confusion between the digit 1 and the letter I).
The inline-four layout is in perfect primary balance and confers a degree of mechanical simplicity which makes it popular for economy cars.[1] However, despite its simplicity, it suffers from a secondary imbalance which causes minor vibrations in smaller engines. These vibrations become more powerful as engine size and power increase, so the more powerful engines used in larger cars generally are more complex designs with more than four cylinders.
Today almost all manufacturers of four-cylinder engines for automobiles produce the inline-four layout, with Subaru and Porsche 718[2] flat-four engines being notable exceptions, and so four-cylinder is usually synonymous with and a more widely used term than inline-four. The inline-four is the most common engine configuration in modern cars, while the V6 engine is the second most popular.[3] In the late 2000s (decade), due to stringent government regulations mandating reduced vehicle emissions and increased fuel efficiency, the proportion of new vehicles sold in the U.S. with four-cylinder engines (largely of the inline-four type) rose from 30 percent to 47 percent between 2005 and 2008, particularly in mid-size vehicles where a decreasing number of buyers have chosen the V6 performance option.[4][5]
A motorcycle engine is an engine that powers a motorcycle.
https://en.wikipedia.org/wiki/Motorcycle_engine
Motorcycle engines are typically two-stroke or four-stroke internal combustion engines, but other engine types (such as Wankels and electric motors) have been used in small numbers. Although some mopeds[1] had friction drive to the front tyre, a motorcycle engine invariably drives the rear wheel, power being sent to the driven wheel by belt, chain or shaft . Most engines have a gearbox with up to six ratios. Reverse gear is occasionally found on heavy tourers [2] and sidecar motorcycles.[3] Gear changes are normally effected using a foot-pedal and manual clutch, but early models had hand-levers. Some bikes have automatic[4] or semi-automatic gearboxes.
Ford inline-four engine with cylinder head removed
TRADITIONALLY FOUR BUTTONS
http://www.blacktieguide.com/Classic/Classic_Tuxedos.htm
The double-breasted model became accepted as an informal alternative to the single-breasted in the 1930s and is now considered equally correct. This model looks better buttoned when the wearer is standing so there is no need for any sort of waist covering. However, because men usually prefer to unbutton their jacket when seated the double-breasted option could be considered less convenient. This type of jacket traditionally has four buttons and fastens with either the bottom row (known as 4-on-1 style) or both rows (4-on-2) depending on the cut.
http://www.blacktieguide.com/Classic/Tuxedos/buttons_execstyle_edit.jpg
http://www.blacktieguide.com/Classic/Classic_Tuxedos.htm
The jacket’s sleeves should be finished with four buttons with their edges touching, just like the sleeves on the tailcoat and better business suits.
All of the jacket’s buttons can be plain black or covered in the lapel’s facing.
Double-breasted peaked lapel,
buttoned 4-on-1
Correct sleeve buttons.
MAIN FOUR COLORS SUITS
https://en.wikipedia.org/wiki/Suit_(clothing)
The main four colours for suits worn in business are black, light grey, dark grey, and navy, either with or without patterns. In particular, grey flannel suiting has been worn very widely since the 1930s. In non-business settings or less-formal business contexts, brown is another important colour; olive also occurs. In summer, lighter shades such as tan or cream are popular.[8][9]
RARE TO FIND SUIT MORE THAN FOUR BUTTONS AND FOUR BUTTONS DIFFERENT
https://en.wikipedia.org/wiki/Suit_(clothing)
Most single-breasted suits have two or three buttons, and one or four buttons are unusual (except that dinner jackets ("black tie") often have only one button). It is rare to find a suit with more than four buttons.
https://en.wikipedia.org/wiki/Suit_(clothing)
A four-button double-breasted jacket usually buttons in a square.
SOME SUITS HAVE A TRANSCENDNET FOURTH POCKET
https://en.wikipedia.org/wiki/Suit_(clothing)
Most jackets have a variety of inner pockets, and two main outer pockets, which are generally either patch pockets, flap pockets, or jetted ("besom") pockets.[27] The patch pocket is, with its single extra piece of cloth sewn directly onto the front of the jacket, a sporting option, sometimes seen on summer linen suits, or other informal styles. The flap pocket is standard for side pockets, and has an extra lined flap of matching fabric covering the top of the pocket. A jetted pocket is most formal, with a small strip of fabric taping the top and bottom of the slit for the pocket. This style is most often on seen on formalwear, such as a dinner jacket.
A breast pocket is usually found at the left side, where a pocket square or handkerchief can be displayed.
In addition to the standard two outer pockets and breast pocket, some suits have a fourth, the ticket pocket, usually located just above the right pocket and roughly half as wide. While this was originally exclusively a feature of country suits, used for conveniently storing a train ticket, it is now seen on some town suits. Another country feature also worn sometimes in cities is a pair of hacking pockets, which are similar to normal ones, but slanted; this was originally designed to make the pockets easier to open on horseback while hacking.[5]
THEY GO UP TO THE HIGHEST FOUR POINT FOLD
https://en.wikipedia.org/wiki/Handkerchief#Suit_accessories
The Presidential, or Flat Fold, perhaps the simplest, is folded at right angles to fit in the pocket.
The Winged Puff, a simple and elegant fold.
The Puff or the Cooper is simply shaped into a round puff.
The Reverse Puff, or The Crown Fold, is like the Puff, except with the puff inside and the points out, like petals.
The Westo Four Point fold, the quickest way to achieve a four-point fold effect.
The TV Fold looks similar but is folded diagonally with the point inside the pocket.
The One-point Fold is folded diagonally with the point showing.
The Two-point Fold is folded off-center so the two points do not completely overlap.
The Three-point Fold is first folded into a triangle, then the corners are folded up and across to make three points.
The Four-point Fold is an off-center version of the Three-point Fold.
The Cagney is basically a backwards version of the Four-point Fold.
The Astaire is a puff with a point on either side.
The Straight Shell is pleated and then folded over to give the appearance of nested shells.
The Diagonal Shell is pleated diagonally and then folded.
FOUR STYLES
https://en.wikipedia.org/wiki/Pompeian_Styles
The Pompeian Styles are four periods which are distinguished in ancient Roman mural painting. They were originally delineated and described by the German archaeologist August Mau, 1840 – 1909, from the excavation of wall paintings at Pompeii, which is one of the largest group of surviving examples of Roman frescoes.
Characterized as a baroque reaction to the Third Style's mannerism, the Fourth Style in Roman wall painting (c. 60–79 AD) is generally less ornamented than its predecessor. The style was, however, much more complex. It revives large-scale narrative painting and panoramic vistas while retaining the architectural details of the Second and First Styles. In the Julio-Claudian phase (c. 20–54 AD), a textile like quality dominates and tendrils seem to connect all the elements on the wall. The colors warm up once again, and they are used to advantage in the depiction of scenes drawn from mythology.
The overall feeling of the walls typically formed a mosaic of framed pictures that took up entire walls. The lower zones of these walls tended to be composed of the First Style. Panels were also used with floral designs on the walls. A prime example of the Fourth Style is the Ixion Room in the House of the Vettii in Pompeii. One of the largest contributions seen in the Fourth Style is the advancement of still life with intense space and light. Shading was very important in the Roman still life. This style was never truly seen again until 17th and 18th centuries with the Dutch. It was also used in the 17th and 18th centuries with the English
Fresco in the Fourth style, from House of the Vettii
FOUR PHASES MYCENNEAN POTTERY
https://en.wikipedia.org/wiki/Mycenaean_pottery
Phylakopi classification[edit]
This classification system is based on the Mycenaean pottery found at the third city of Phylakopi on the island of Milos. This has been divided into four phases
In this first phase, black matte decoration is the only style to be found. Popular motifs are straight bands, spirals, birds and fish.
Red and brown lustrous decoration come into play alongside black matte in this phase. Birds and fish are still popular, and we start to see flowers painted on wares as well.
In this phase both red and brown lustrous and black matte are still around, but the lustrous decorations have surpassed the matte in popularity. The flower becomes much more popular.
Red/Black and Red lustrous are still seen in this final phase, and black matte has completely disappeared. Shape and decorative motifs do not change much during this phase.[11]
FOUR STYLES
https://en.wikipedia.org/wiki/Mycenaean_pottery
Lustrous painted wares[edit]
Lustrous painted wares slowly rise in popularity throughout the Late Helladic period until eventually they are the most popular for of painted wares. There are four distinct forms of lustrous decorations:
The first style sees the ware covered entirely with brilliant decoration, with red or white matte paint underneath.
This form consists of wares with a yellower tone with black lustrous decorations.
In the third style, the yellow clay becomes paler and floral and marine motifs in black paint are popular.
The final style has matte red clay with a less lustrous black paint. Human and animal decorations that are geometric in form.
FOUR PERIODS GREEK ART
https://en.wikipedia.org/wiki/Ancient_Greek_art
The art of ancient Greece is usually divided stylistically into four periods: the Geometric, Archaic, Classical, and Hellenistic.
IN THIS VERY FAMOUS SONG BY THE PACK, EVEN PLAYED ON ROCK RADIO STATIONS, HE SAYS "LACE THEM PAST THE FOURTH HOLE YOU SOME TYPE OF SUCKER"
https://www.youtube.com/watch?v=5fR2OgGbKds
Quadrant
I SHOWED PREVIOUSLY THAT GANESHA IS WORSHIPPED IN TWO QUADRANT MODELS- THE GANESHA SHODASHI IS 16 GANESHAS IN A FOUR BY FOUR ARRANGEMENT WHICH IS THE MOST POPULAR FORM OF WORSHIPPING GANESHA- BUT THERE ARE 32 GANESHAS TWO FOUR BY FOUR ARRANGEMENTS. HERE IS WARHOLS 32 CANS WHICH IS FOUR TIMES EIGHT- TWO QUADRANT MODELS- ALSO THE CANS, AT THE BOTTOM, ARE LINED WITH CROSSES
​
Campbell's Soup Cans,[1] which is sometimes referred to as 32 Campbell's Soup Cans,[2] is a work of artproduced in 1962 by Andy Warhol. It consists of thirty-two canvases, each measuring 20 inches (51 cm) in height × 16 inches (41 cm) in width and each consisting of a painting of a Campbell's Soup can—one of each of the canned soup varieties the company offered at the time.[1] The individual paintings were produced by a printmaking method—the semi-mechanized screen printing process, using a non-painterly style. Campbell's Soup Cans' reliance on themes from popular culture helped to usher in pop art as a major art movement in the United States.
FOUR MEMBERS OF THE BAND LIL B WAS IN
https://en.wikipedia.org/wiki/The_Pack_(group)
The Pack was a hip hop group formed in Berkeley, California in 2004. The group consisted of Lil B (Brandon McCartney), Young L (Lloyd Omadhebo), Stunnaman (Keith Jenkins), and Lil Uno (Damonte Johnson). They all recorded together for over a year at Young L's home studio where they released their first two mixtapes Wolfpack Muzik Vol. 1[1] and Wolfpack Muzik Vol. 2.[2][3] The Pack expanded their fanbase and eventually got signed to a major label, when Too Short signed The Pack to his Jive Records-distributed label Up All Nite Records. The Pack is usually known for their skateboard raps and the sexually explicit content of many of their songs. The group is best known for the track "Vans". The Pack has also collaborated with musicians such as Soulja Boy, Wiz Khalifa, and Taymoney20.
IT ONLY GOES UP TO FOUR- THE FIFTH IS THEORETICAL QUESTIONABLE- THE FOURTH IS TRANSCENDENT- ON THE PERIODIC TABLE THE FOURTH BLOCK IS SEPARATE FROM THE FIRST THREE
https://en.wikipedia.org/wiki/Electron_shell
Each shell is composed of one or more subshells, which are themselves composed of atomic orbitals. For example, the first (K) shell has one subshell, called 1s; the second (L) shell has two subshells, called 2s and 2p; the third shell has 3s, 3p, and 3d; the fourth shell has 4s, 4p, 4d and 4f; the fifth shell has 5s, 5p, 5d, and 5f and can theoretically hold more but the 5f subshell, although partially occupied in actinides, is not filled in any element occurring naturally.[2] The various possible subshells are shown in the following table:
Subshell label â„“ Max electrons Shells containing it Historical name
s 0 2 Every shell sharp
p 1 6 2nd shell and higher principal
d 2 10 3rd shell and higher diffuse
f 3 14 4th shell and higher fundamental
g 4 18 5th shell and higher (theoretically) (next in alphabet after f)[5]
The first column is the "subshell label", a lowercase-letter label for the type of subshell. For example, the "4s subshell" is a subshell of the fourth (N) shell, with the type (s) described in the first row.
The second column is the azimuthal quantum number (â„“) of the subshell. The precise definition involves quantum mechanics, but it is a number that characterizes the subshell.
The third column is the maximum number of electrons that can be put into a subshell of that type. For example, the top row says that each s-type subshell (1s, 2s, etc.) can have at most two electrons in it. In each case the figure is 4 greater than the one above it.
The fourth column says which shells have a subshell of that type. For example, looking at the top two rows, every shell has an s subshell, while only the second shell and higher have a p subshell (i.e., there is no "1p" subshell).
The final column gives the historical origin of the labels s, p, d, and f. They come from early studies of atomic spectral lines. The other labels, namely g, h and i, are an alphabetic continuation following the last historically originated label of f.
Although it is commonly stated that all the electrons in a shell have the same energy, this is an approximation. However, the electrons in one subshell do have exactly the same level of energy,[6] with later subshells having more energy per electron than earlier ones. This effect is great enough that the energy ranges associated with shells can overlap (see valence shells and Aufbau principle).
Each shell is composed of one or more subshells, which are themselves composed of atomic orbitals. For example, the first (K) shell has one subshell, called 1s; the second (L) shell has two subshells, called 2s and 2p; the third shell has 3s, 3p, and 3d; the fourth shell has 4s, 4p, 4d and 4f; the fifth shell has 5s, 5p, 5d, and 5f and can theoretically hold more but the 5f subshell, although partially occupied in actinides, is not filled in any element occurring naturally.[2] The various possible subshells are shown in the following table:
Subshell label â„“ Max electrons Shells containing it Historical name
s 0 2 Every shell sharp
p 1 6 2nd shell and higher principal
d 2 10 3rd shell and higher diffuse
f 3 14 4th shell and higher fundamental
g 4 18 5th shell and higher (theoretically) (next in alphabet after f)[5]
The first column is the "subshell label", a lowercase-letter label for the type of subshell. For example, the "4s subshell" is a subshell of the fourth (N) shell, with the type (s) described in the first row.
The second column is the azimuthal quantum number (â„“) of the subshell. The precise definition involves quantum mechanics, but it is a number that characterizes the subshell.
The third column is the maximum number of electrons that can be put into a subshell of that type. For example, the top row says that each s-type subshell (1s, 2s, etc.) can have at most two electrons in it. In each case the figure is 4 greater than the one above it.
The fourth column says which shells have a subshell of that type. For example, looking at the top two rows, every shell has an s subshell, while only the second shell and higher have a p subshell (i.e., there is no "1p" subshell).
The final column gives the historical origin of the labels s, p, d, and f. They come from early studies of atomic spectral lines. The other labels, namely g, h and i, are an alphabetic continuation following the last historically originated label of f.
Although it is commonly stated that all the electrons in a shell have the same energy, this is an approximation. However, the electrons in one subshell do have exactly the same level of energy,[6] with later subshells having more energy per electron than earlier ones. This effect is great enough that the energy ranges associated with shells can overlap (see valence shells and Aufbau principle).
Each subshell is constrained to hold 4â„“ + 2 electrons at most, namely:
Each s subshell holds at most 2 electrons
Each p subshell holds at most 6 electrons
Each d subshell holds at most 10 electrons
Each f subshell holds at most 14 electrons
Each g subshell holds at most 18 electrons
Therefore, the K shell, which contains only an s subshell, can hold up to 2 electrons; the L shell, which contains an s and a p, can hold up to 2 + 6 = 8 electrons, and so forth; in general, the nth shell can hold up to 2n2 electrons.[1]
Although that formula gives the maximum in principle, in fact that maximum is only achieved (by known elements) for the first four shells (K, L, M, N). No known element has more than 32 electrons in any one shell.[7][8] This is because the subshells are filled according to the Aufbau principle. The first elements to have more than 32 electrons in one shell would belong to the g-block of period 8 of the periodic table. These elements would have some electrons in their 5g subshell and thus have more than 32 electrons in the O shell (fifth principal shell).
SEMICONDUCTOR MATERIALS HAVE FOUR VALENCE ELECTRONS AND LOOK LIKE QUADRANTS
https://en.wikipedia.org/wiki/Valence_electron
A semiconductor has an electrical conductivity that is intermediate between that of a metal and that of a nonmetal; a semiconductor also differs from a metal in that a semiconductor's conductivity increases with temperature. The typical elemental semiconductors are silicon and germanium, each atom of which has four valence electrons. The properties of semiconductors are best explained using band theory, as a consequence of a small energy gap between a valence band (which contains the valence electrons at absolute zero) and a conduction band (to which valence electrons are excited by thermal energy).
THE F ORBITAL IS DIFFERENT
http://college-cram.com/study/chemistry/atoms-and-molecules/electron-orbitals/
There are four basic types of electron orbitals – s, p, d, and f. (Visual representations can be found in the tutorial above.)
The s subshell is a spherical orbital which can contain up to two electrons. Each energy level has one s subshell.
The p subshell has three dumbbell-shaped orbitals, arranged at right angles to each other. Each of these orbitals can contain up to two electrons, so a fully-filled p subshell will contain six electrons. The p subshell can be found in energy levels of two or higher.
The d subshell has a set of five orbitals, arranged to lie along the x, y, and z planes. (The picture above really helps here.) Each of the five orbitals can contain up to two electrons, so a fully loaded d subshell will contain ten electrons. This subshell can be found in energy levels of three or higher.
The f subshell has a set of seven orbitals, symmetrically distributed throughout the x, y, and z planes. Each of the seven orbitals can contain up to two electrons, for a total of fourteen electrons in a fully-stacked shell. This subshell can be found in energy levels of four or higher.
PAULI ADDED THE TRANSCENDENT FOURTH QUANTUM NUMBER TO THE THREE QUANTUM NUMBERS
https://en.wikipedia.org/wiki/Electron_configuration
Niels Bohr (1923) was the first to propose that the periodicity in the properties of the elements might be explained by the electronic structure of the atom.[6] His proposals were based on the then current Bohr model of the atom, in which the electron shells were orbits at a fixed distance from the nucleus. Bohr's original configurations would seem strange to a present-day chemist: sulfur was given as 2.4.4.6 instead of 1s2 2s2 2p6 3s2 3p4 (2.8.6).
The following year, E. C. Stoner incorporated Sommerfeld's third quantum number into the description of electron shells, and correctly predicted the shell structure of sulfur to be 2.8.6.[7] However neither Bohr's system nor Stoner's could correctly describe the changes in atomic spectra in a magnetic field (the Zeeman effect).
Bohr was well aware of this shortcoming (and others), and had written to his friend Wolfgang Pauli to ask for his help in saving quantum theory (the system now known as "old quantum theory"). Pauli realized that the Zeeman effect must be due only to the outermost electrons of the atom, and was able to reproduce Stoner's shell structure, but with the correct structure of subshells, by his inclusion of a fourth quantum number and his exclusion principle (1925):[8]
It should be forbidden for more than one electron with the same value of the main quantum number n to have the same value for the other three quantum numbers k [l], j [ml] and m [ms].
The Schrödinger equation, published in 1926, gave three of the four quantum numbers as a direct consequence of its solution for the hydrogen atom:[2] this solution yields the atomic orbitals that are shown today in textbooks of chemistry (and above). The examination of atomic spectra allowed the electron configurations of atoms to be determined experimentally, and led to an empirical rule (known as Madelung's rule (1936),[9] see below) for the order in which atomic orbitals are filled with electrons.
https://en.wikipedia.org/wiki/Atomic_orbital#Orbital_energy
The Pauli exclusion principle states that no two electrons in an atom can have the same values of all four quantum numbers. If there are two electrons in an orbital with given values for three quantum numbers, (n, l, m), these two electrons must differ in their spin.
CARBON IS CALLED THE MIRACLE ELEMENT BECAUSE IT HAS FOUR VALENCE ELECTRONS- THESE FOUR VALENCE ELETRONS CREAT A QUADRANT- THEY ARE ALSO A THREE PLUS ONE PATTERN THREE PS AND ONE S
https://en.wikipedia.org/wiki/Orbital_hybridisation
Chemist Linus Pauling first developed the hybridisation theory in 1931 in order to explain the structure of simple molecules such as methane (CH4) using atomic orbitals.[2] Pauling pointed out that a carbon atom forms four bonds by using one s and three p orbitals, so that "it might be inferred" that a carbon atom would form three bonds at right angles (using p orbitals) and a fourth weaker bond using the s orbital in some arbitrary direction. In reality however, methane has four bonds of equivalent strength separated by the tetrahedral bond angle of 109.5°. Pauling explained this by supposing that in the presence of four hydrogen atoms, the s and p orbitals form four equivalent combinations or hybrid orbitals, each denoted by sp3 to indicate its composition, which are directed along the four C-H bonds.[3] This concept was developed for such simple chemical systems, but the approach was later applied more widely, and today it is considered an effective heuristic for rationalising the structures of organic compounds. It gives a simple orbital picture equivalent to Lewis structures. Hybridisation theory finds its use mainly in organic chemistry, one of the most compelling examples being Baldwin's rules.
FOUR GREAT MEDEIVAL ALLEGORIES- FOUR TYPES OF INTERPRETATION AND DANTE
https://en.wikipedia.org/wiki/Allegory_in_the_Middle_Ages
https://en.wikipedia.org/wiki/Allegory_in_the_Middle_Ages
The High and Late Middle Ages saw many allegorical works and techniques. There were four great works from this period.[2]
The Four Great Medieval Allegories
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.
Four types of interpretation or allēgoria[edit]
There were four categories of interpretation (or meaning) used in the Middle Ages, which had originated with the Bible commentators of the early Christian era.[2]
The first is simply the literal interpretation of the events of the story for historical purposes with no underlying meaning.
The second is called typological: it connects the events of the Old Testament with the New Testament; in particular drawing allegorical connections between the events of Christ's life with the stories of the Old Testament.
The third is moral (or tropological), which is how one should act in the present, the "moral of the story".
The fourth type of interpretation is anagogical, dealing with the future events of Christian history, heaven, hell, the last judgment; it deals with prophecies.
Thus the four types of interpretation (or meaning) deal with past events (literal), the connection of past events with the present (typology), present events (moral), and the future (anagogical).[2]
Dante describes interpreting through a "four-fold method" (or "allegory of the theologians") in his epistle to Can Grande della Scala. He says the "senses" of his work are not simple, but:
“ Rather, it may be called "polysemous", that is, of many senses. A first sense derives from the letters themselves, and a second from the things signified by the letters. We call the first sense "literal" sense, the second the "allegorical", or "moral" or "anagogical". To clarify this method of treatment, consider this verse: When Israel went out of Egypt, the house of Jacob from a barbarous people: Judea was made his sanctuary, Israel his dominion (Psalm 113). Now if we examine the letters alone, the exodus of the children of Israel from Egypt in the time of Moses is signified; in the allegory, our redemption accomplished through Christ; in the moral sense, the conversion of the soul from the grief and misery of sin to the state of grace; in the anagogical sense, the exodus of the holy soul from slavery of this corruption to the freedom of eternal glory.. they can all be called allegorical.