The Four Great Classical Novels[1] of Chinese literature are the four novelscommonly regarded by Chinese literary criticism to be the greatest and most influential of pre-modern Chinese fiction. Dating from the Ming and Qingdynasties, they are well-known to most Chinese either directly or through their many adaptations to opera and various popular culture media.

They are among the world's longest and oldest novels[2] and are considered to be the pinnacle of China's achievement in classical novels, influencing the creation of many stories, plays, movies, games, and other forms of entertainment throughout countries in East Asia, including Japan, Korea, and Vietnam.

In chronological order, they are:

EnglishSimplified ChineseTraditional ChinesePinyinAttributed toDate

Water Margin水浒传水滸傳Shuǐhǔ ZhuànShi Nai'an[a]14th century

Romance of the Three Kingdoms三国演义三國演義Sānguó YǎnyìLuo Guanzhong14th century

Journey to the West西游记西遊記Xī Yóu JìWu Cheng'en16th century

Dream of the Red Chamber红楼梦紅樓夢Hónglóu MèngCao Xueqin18th century

THE CROSS OF GOLD SPEECH- BRYAN MADE THE CRUCIFIX POSE

https://en.wikipedia.org/wiki/File:Cross_of_gold_speech_cartoon.jpg

https://en.wikipedia.org/wiki/Cross_of_Gold_speech

The Cross of Gold speech was delivered by William Jennings Bryan, a former United States Representative from Nebraska, at the Democratic National Convention in Chicago on July 9, 1896. In the address, Bryan supported bimetallism or "free silver", which he believed would bring the nation prosperity. He decried the gold standard, concluding the speech, "you shall not crucify mankind upon a cross of gold".[1] Bryan's address helped catapult him to the Democratic Party's presidential nomination; it is considered one of the greatest political speeches in American history.

Having behind us the producing masses of this nation and the world, supported by the commercial interests, the laboring interests, and the toilers everywhere, we will answer their demand for a gold standard by saying to them: "You shall not press down upon the brow of labor this crown of thorns; you shall not crucify mankind upon a cross of gold."[1]

As Bryan spoke his final sentence, recalling the Crucifixion of Jesus, he placed his hands to his temples, fingers extended; with the final words, he extended his arms to his sides straight out to his body and held that pose for about five seconds as if offering himself as sacrifice for the cause, as the audience watched in dead silence. He then lowered them, descended from the podium, and began to head back to his seat as the stillness held.[1]

Judge magazine criticized Bryan for sacrilege in his speech. He is shown with crown and cross, but trampling the Bible.

Judge magazine criticized Bryan for sacrilege in his speech. He is shown with crown and cross, but trampling the Bible.

THE FOUR SACRED WARS- A THREE PLUS ONE PATTERN

The Sacred Wars can refer to several wars over control of Delphi:

First Sacred War (595 BC - 585 BC), between the Amphictyonic League of Delphi and the city of Kirrha
Second Sacred War (449 BC - 448 BC), an indirect confrontation between Athens and Sparta
Third Sacred War (356 BC - 346 BC), between the forces of Thebes and Phocis for control of Delphi

https://en.wikipedia.org/wiki/The_Sacred_Wars

The destruction of the Phocian cities and the heavy fine imposed on the Phocian confederation certainly caused the Phocians to bear a grudge against Philip II. Seven years later the Locrians brought charges against the Athenians in the amphictyonic council and a special session of the council was set in order to deal with that matter. The Athenians, however, did not send envoys and neither did the Thebans. This was a clear insult to the council and Philip II intervened once more as a regulator. The Fourth Sacred War broke out, ending in the total subjugation of Greece to the kingdom of Macedonia. The Phocians recovered gradually from the repercussions of the Third Sacred War and managed to be reinstated in the Amphictyony in 279 BC, when they joined forces with the Aetolian League fighting against the Gauls. However, a serious side-loss of the Third Sacred War remained the destruction of a large number of ex votos and other precious offerings to the sanctuary of Apollo, which deprived not only the sanctuary itself but also the later generations of some magnificent pieces of art.

SHROUD OF TURIN TETRADIPLON- TETRA IS FOUR

http://theshroudofturin.blogspot.com/2012/09/tetradiplon-and-shroud-of-turin.html

The Greek word tetradiplon is a compound of tetra ("four") and diplon ("doubled)," hence "four-doubled." In all of known ancient Greek literature, tetradiplon occurs only in connection with the Image of Edessa. Its first known occurrence is in the Acts of Thaddeus, a sixth century update of an earlier (c. AD 400) story in the Doctrine of Addai, about Edessa's King Abgar V (c. 4 BC - AD 50) receiving an image of Jesus imprinted on a cloth. The sixth century Acts of Thaddeus added new information to that earlier story that the cloth was a sindon (a large linen sheet) which was tetradiplon ("four doubled"):

"In those times there was a governor of the city of Edessa, Abgarus [Abgar V] by name. And there having gone abroad the fame of Christ, of the wonders which He did, and of His teaching, Abgarus having heard of it, was astonished, and desired to see Christ, and could not leave his city and government. And about the days of the Passion and the plots of the Jews, Abgarus, being seized by an incurable disease, sent a letter to Christ by Ananias the courier ... And Ananias, having gone and given the letter, was carefully looking at Christ, but was unable to fix Him in his mind. And He knew as knowing the heart, and asked to wash Himself; and a towel [Gk. tetradiplon] was given Him; and when He had washed Himself, He wiped His face with it. And His image having been imprinted upon the linen [Gk. sindon], He gave it to Ananias, saying: Give this, and take back this message, to him that sent you: Peace to you and your city!" ("The Acts of Thaddaeus, One of the Twelve," New Advent, 29 January 2010).

That the Shroud of Turin, when doubled four times results in Jesus' face within a rectangle, in landscape aspect, exactly as depicted in the earliest copies of the Image of Edessa/Mandylion, is proof beyond reasonable doubt that the Image of Edessa/Mandylion is the Shroud of Turin, doubled four times, mounted on a board, and framed, so that only Jesus' face is visible. And therefore that the Shroud of Turin existed in the sixth century, and indeed in the first century, as the Image of Edessa's connection with Edessa's first century King Abgar V, attests!

Lincoln is simply the sun on the cross (kind of a boxy circle/sun). Notice how the 4 legs extend beyond the circle and form four more crosses.

Oldsmobile is not much different, other than its arms are bent down. It is almost identical to the peace symbol. But hey, it’s a rocket, right? Olds’ most modern logo will be covered later.

In the same line of thought as the Cadillac logo is the Saturn logo. It’s supposed to be the planet Saturn with a ring going around it. But all I see is a giant cross, like the script Cadillac “C”, and boxed in or ‘circled /sunned’. It just has the planetary effect due to the slight bends and the ‘ring’ being thicker on the bottom end.

http://12160.info/profiles/blogs/illuminati-sun-symbolism-auto-logo-s-part-1-2-or-3

More similar to the Cadillac crest, is the Porsche logo, which is also divided in 4 parts with a cross and a horse (Jesus turned into a horse) in the middle. It also has the same pattern in the upper left /bottom right and upper right /bottom left. Important to note is the use of red on the Porsche and Cadillac shields. The German name Rothchild translates to red shield. The Rothchild family is the most elite of the 13-bloodline illuminati families.

Or, perhaps Scion is the ‘ultimate driving machine’ since it too, likes the cross with quadrants theme.

Remember how the Saturn logo and the Cadillac script “C” form crosses, but a little bent? Now let’s look at the Toyota logo.

The “o” in the Geo logo is what you might first notice being similar to the classic BMW cross-in-circle logo. But, also notice how the horizontal mid sections of the “G” and “e” come very close to intersecting. In fact, your subconscious does it for you making a perfect cross shape (with some bend in the vertical) and nearly encircled by the rest of the “G” and “E”, forming the sun.

More to that effect is the Fiat logo. Your subconscious connects the lower horizontal of the “F” and “A”, combining with the simple vertical “I”. Notice how the “A” is not angled up on the left side like every other capital “A” in history, or even this one on its right side. And notice that the “I” is does not have horizontals. This helps keep it closer to the “F” and “A”. F-an-A is right! Like usual the cross is circled by an outer ring, i.e. a sun resides on the cross.

I’ve seen Alfa Romeo featured as one of the top 5 sinister corporate logos. I understand why! Not only does it have sun/cross, but it has a snake (representing the illuminati) eating a dude (representing you and me). Plus if you drop the dude and snake’s head down a bit, it extends the cross’ right arm and forms a second cross in the middle. Plus, it has the same three section horizontal box like Cadillac. It looks like a crown in this case. Anything royal alludes to them being god-like and us not.

Subaru gets the cross theme cooking with 6 strong, or 3 pairs interlocking one another. There’s probably something more to it than that. The main one has a ‘glow’ like that of a sun around it in addition to the outer ring.

I'm a paragraph. Click here to add your own text and edit me. It's easy.

FOUR BRANCHES

https://en.wikipedia.org/wiki/Proton–proton_chain_reaction

The P-P I branch[edit]

3
2He
+ 3
2He
→ 4
2He
+ 2 1
1H
+ 12.86 MeV

The complete p-p I chain reaction releases a net energy of 26.732 MeV.[7] Two percent of this energy is lost to the neutrinos that are produced.[8] The p-p I branch is dominant at temperatures of 10 to 14 MK. Below 10 MK, the P-P chain does not produce much 4
He
.[citation needed]

The P-P II branch[edit]

Proton–proton II chain reaction

The P-P III branch[edit]

Proton–proton III chain reaction

3
2He
+ 4
2He
→ 7
4Be
+
γ

7
4Be
+ 1
1H
→ 8
5B
+
γ

8
5B
→ 8
4Be
+
e+
+
ν
e

8
4Be
→ 2 4
2He

The P-P III chain is dominant if the temperature exceeds 23 MK.

The p-p III chain is not a major source of energy in the Sun (only 0.11 percent), but it was very important in the solar neutrino problem because it generates very high energy neutrinos (up to 14.06 MeV).

The P-P IV (Hep) branch[edit]

This reaction is predicted theoretically, but it has never been observed due to its rarity (about 0.3 ppm in the Sun). In this reaction, helium-3 captures a proton directly to give helium-4, with an even higher possible neutrino energy (up to 18.8 MeV).

FOUR PROTONS FUSION

http://www.chegg.com/homework-help/questions-and-answers/sun-powered-fusion-four-protons-fusing-together-toform-helium-nucleus-two-protons-turn-neu-q360438

The sun is powered by fusion with four protons fusing together toform a helium nucleus (two of the protons turn into neutrons) and,in the process, releasing a large amount of thermal energy

KABALLAH THE FOUR WORLDS AND THE FOUR SECRET NAMES

http://www.sacred-texts.com/jud/tku/img/pl05.jpg

http://www.sacred-texts.com/jud/tku/tku03.htm

http://www.sacred-texts.com/jud/tku/img/pl05.jpg

68. Now, there are four secret names referred to the four worlds of Atziloth, Briah, Yetzirah, and Asiah; and again, the Tetragrammaton is said to go forth written in a certain manner in each of these four worlds. The secret name of Atziloth is Aub, OB; that of Briah is Seg, SG; that of Yetzirah is Mah, MH; and that of Asiah is Ben, 1 BN. The subjoined Table will show the mode of writing the name in each of the four worlds.

69. These names operate together with the Sephiroth through the "231 gates," as the various combinations of the alphabet are called; but it would take too much space to go fully into the subject here.

70. Closely associated with the subject of the letters of the Tetragrammaton is that of the four kerubim, to which I have already referred in describing the first Sephira.

p. 34

[paragraph continues] Now it must not be forgotten that these forms in Ezekiel's vision support the throne of the Deity, whereon the Heavenly Man is seated--the Adam Qadmon, the sephirotic image; and that between the throne and the living creatures is the firmament. Here then we have the four worlds--Atziloth, the deific form; Briah, the throne; Yetzirah, the firmament; Asiah, the kerubim. Therefore the kerubim represent the powers of the letters of the Tetragrammaton on the material plain; and the four represent the operation of the four letters in each of the four worlds. Thus, then, the kerubim are the living forms of the letters, symbolized in the Zodiac by Taurus, Leo, Aquarius, and Scorpio, as I have before remarked.

THE TREATISES OF QABALLAH REDUCED TO FOUR HEADS

http://www.sacred-texts.com/jud/tku/tku03.htm

23. The Dogmatic Qabalah contains the doctrinal portion. There are a large number of treatises of various dates and merits which go to make up the written Qabalah, but they may be reduced to four heads:

(α) The Sepher Yetzirah and its dependencies.

(β) The Zohar with its developments and commentaries.

(γ) The Sepher Sephiroth and its expansions.

(δ) The Asch Metzareph and its symbolism.

I MENTIONED THAT THERE ARE KABBALISTIC TEXTS THAT ONLY DISCUSS THE TRIGRAMMATON AND DO NOT MENTION THE TETRAGRAMMATON- BUT AS IT SAYS HERE THE TRINITY ALWAYS FINDS COMPLETION IN THE FORM OF THE QUATERNARY "THE TRINITY IS ALWAYS COMPLETED BY AND FINDS ITS REALIZATION IN THE QUATERNARY"

http://www.sacred-texts.com/jud/tku/tku03.htm

72. But this foregoing triple division of the soul is only applicable to the triple form of the intellectual, moral, and material. Let us not lose sight of the great qabalistical idea, that the trinity is always completed by and finds its realization in the quaternary; that is IHV completed and realized in IHVH--the trinity of

Crown;

King;

Queen;

Father;

Son;

Spirit;

Absolute;

Formation;

Realization;

completed by the quaternary of--

Absolute One

Father and Mother

Son

Bride.

Macroprosopus, the Vast Countenance

Father and Mother

Microprosopus, the Lesser Countenance

Malkuth, the Queen and Bride.

Atziloth

Briah

Yetzirah

Asiah.

Archetypal

Creative

Formative

Material.

And to these four the soul answers in the following four forms:--Chiah to Atziloth; Neschamah to Briah; Ruach to Yetzirah; and Nephesch to Asiah. See subjoined plate illustrating the analogy between the soul, the letters of the Tetragrammaton, and the four worlds.

THE SHEMA IS CONSIDERED BY JEWS TO BE THE MOST IMPORTANT STATEMENT AND IS SAID WHEN JEWS WAKE UP. IN THE SHEMA THE LETTER D IS WRITTEN LARGER- THE D STANDS FOR THE NUMBER FOUR AND THE FOUR LETTERS OF THE TETRAGRAMMATON- THE SHEMA REPEATS THE TETRAGRAMMATON TWICE SAYING THE TETRAGRAMMATON IS ONE, WHICH MEANS THE FOUR IS ONE- THROUGHOUT THE BIBLE AND PRAYERS OF JEWS WHAT IS MENTIONED THE MOST IS THE TETRAGRAMMATON SAYING THAT THE TETRAGRAMMATON WILL BE GLORIFIED AND IN THE END THE WORLD WILL KNOW THE NAME- THE TETRAGRAMMATON AND REALIZE THE NAME- THAT HAS BEEN ACCOMPLISHED WITH THE QUADRANT MODEL

http://www.sacred-texts.com/jud/tku/tku03.htm

In Deuteronomy vi. 4, &c., is the prayer known as the "Shema Yisrael." It begins, "ShMO IShRAL IHVH ALHINV IHVH AChD, Shemaa Yisrael, Tetragrammaton Elohino Tetragrammaton Achad: "Hear, O Israel, Tetragrammaton your God is Tetragrammaton Unity." In this verse the terminal letter O in ShMO, and the D in AChD are written much larger than the other letters of the text. The qabalistical symbology contained in this circumstance is thus explained: The letter O, being of the value of 70, shows that the law may be explained in seventy different ways, and the D = 4 = the four cardinal points and the letters of the Holy Name. The first word, ShMO, has the numerical value of 410, the number of years of the duration of the first temple, &c. &c. There are many other points worthy of consideration in this prayer, but time will not permit me to dwell on them.

FOUR BROTHERS

https://en.wikipedia.org/wiki/Bielski_partisans

The Bielski partisans were an organization of Jewish partisans who rescued Jews from extermination and fought against the Nazi German occupiers and their collaborators in the vicinity of Nowogródek (Navahrudak) and Lida in German-occupied Poland (now western Belarus). They are named after the Bielskis, a family of Polish Jews who led the organization.

The four Bielski brothers, Tuvia, Alexander (also known as "Zus"), Asael and Aron Bielski managed to flee to the nearby forest after their parents and other family members were killed in the ghetto on December 8, 1941. Together with 13 neighbours from the ghetto, they formed the nucleus of their partisan combat group in the spring of 1942. Originally, the group consisted of around forty people, but grew quickly.

The group's commander was the oldest brother, Tuvia, who had served in the Polish Army from 1927 to 1929, rising to the rank of corporal. He had been interested in the Zionist youth movement. He sent emissaries to infiltrate the ghettos in the area, recruiting new members to join the group in the Naliboki Forest. Hundreds of men, women and children eventually found their way to the Bielski camp; at its peak, 1,236 people belonged to the group, and 70% were women, children and the elderly; no one was turned away.[1] About 150 engaged in armed operations.[1]

https://en.wikipedia.org/wiki/Hadza_people

The Hadza's oral history of their own past is divided into four epochs, each inhabited by a different culture. According to this tradition, in the beginning of time, the world was inhabited by hairy giants called the Akakaanebe or Gelanebe, "ancestors". The Akakaanebe did not possess tools or fire; they hunted game by staring at it and it fell dead; they ate the meat raw. They did not build houses but slept under trees, as the Hadza do today in the dry season. In older versions of this story, fire was not used because it was physically impossible in the earth's primeval state, while younger Hadza, who have been to school, say that the Akakaanebe simply did not know how.

In the second epoch, the Akakaanebe were succeeded by the Tlaatlanebe, equally gigantic but without hair. Fire could be made and used to cook meat, but animals had grown more wary of humans and had to be chased and hunted with dogs. The Tlaatlanebe were the first people to use medicines and charms to protect themselves from enemies and initiated the epeme rite. They lived in caves.

The third epoch was inhabited by the Hamakwabe "nowadays", who were smaller than their predecessors. They invented bows and arrows, and containers for cooking, and mastered the use of fire. They also built houses like those of Hadza today. The Hamakwabe were the first of the Hadza's ancestors to have contact with non-foraging people, with whom they traded for iron to make knives and arrowheads. The Hamakwabe also invented the gambling game lukuchuko.

The fourth epoch continues today and is inhabited by the Hamaishonebe, "modern". When discussing the Hamaishonebe epoch, people often mention specific names and places, and can approximately say how many generations ago events occurred.[17]

DUNNS FAMOUS QUADRANT MODEL

https://ajot.aota.org/data/Journals/AJOT/929965/m_474fig1.png

https://ajot.aota.org/article.aspx?articleid=1854566

According to Dunn’s Model of Sensory Processing, neurological thresholds and behavioral responses fall on a continuum and interact with each other. The intersection of the two continua results in four sensory processing patterns (i.e., registration, seeking, sensitivity, and avoiding) that offer possible interpretations of a child’s behavior (Dunn, 2006a):

Registration is described as the degree to which a child misses sensory input (high neurological threshold and passive response).

Seeking is the degree to which a child obtains sensory input. Children in the seeking quadrant also have a high neurological threshold but respond actively. Children with low neurological thresholds fall into the sensitivity or avoiding quadrants.

Sensitivity is the degree to which a child notices sensory input (passive response).

Avoiding is the degree to which a child is bothered by sensory input (active response).

The interaction of neurological thresholds and behavioral responses provides a method for explaining how children process sensory information and guidance for intervention planning (Dunn, 1999).

THE CRUCIFIXION IN HANNIBAL

http://www.hollywoodjesus.com/movie/hannibal/06.jpg

http://www.hollywoodjesus.com/hannibal.htm

Following the Last Supper, Hannibal sacrifices part of himself to bring freedom, Clarice assumes a crucified position and Hannibal ascends into the heavens. The connections to the story of Jesus abound.

-Review by David Bruce

THE ARREST, CRUCIFIXION AND RESURRECTION

Click to enlargeClick to enlarge

THE CAPTURE

The capture of Hannibal has connections to the arrest of Jesus.

John 18:2-5 --"Judas, his betrayer, knew the place because Jesus and his disciples went there often. So Judas led the way to the garden, and the Roman soldiers and police sent by the high priests and Pharisees followed. They arrived there with lanterns and torches and swords. Jesus, knowing by now everything that was coming down on him, went out and met them. He said, "Who are you after?" They answered, "Jesus the Nazarene." He said, "That's me." The soldiers recoiled, totally taken aback." (Message Translation)

Click to enlargeClick to enlarge

HANNIBAL IS CRUCIFIED FOR THE FEAST

Click to enlargeMason Verger's plan is to place Hannibal in a cruciform and feed him to the wild pigs.

Matthew 26:2 "Ye know that after two days is the feast of the Passover, and the Son of man is betrayed to be crucified." (Kings James)

Click to enlargeClick to enlarge

THE RESURRECTION

Following the death on the cross, Jesus, the sacrificial lamb, rose from the dead. In the film FBI agent Clarice Starling, the sacrificial lamb, is wounded and is resurrected from "death".

SACRIFICE, CRUCIFIXION AND ASCENSION

Click to enlargeAN INTERESTING ENDING

Following the Last Supper, Hannibal sacrifices part of himself to bring freedom,Click to enlarge Clarice assumes a crucified position and Hannibal ascends into the heavens (via an airplane). The connections to the story of Jesus abound.

Acts 1:9 "These were his last words. As they watched, he was taken up and disappeared in a cloud." (Message Translation)

INDIANA JONES AND THE CROSS

http://indianajones.wikia.com/wiki/Cross_of_Coronado

The Cross of Coronado is a fictional artifact invented for Indiana Jones and the Last Crusade. During the development of the film's script, written by Jeffrey Boam, the Cross of Coronado was originally the Cross of Cortés, given from Montezuma to Cortés.

In 1520, the real Cortés was in Mexico leading the Spanish conquest of the Aztecs while Francisco Vásquez de Coronado would have been a child of 10 or 11 back in Spain at the time, a situation which would have made it difficult for Coronado to receive the cross from Cortés, especially in person.

The Lost Journal of Indiana Jones, written from the perspective of Indiana Jones, notes the similarity of the Cross of Coronado's inscription to that of the Crux Vaticana but inaccurately states that the Crux Vaticana was a gift of Justinian II (669 – 711) rather than Justin II (520 – 578), the emperor named in the inscription itself. Nevertheless, the book acknowledges that the Crux Vaticana is of the sixth century while the back of the Cross of Coronado is from the seventh or eighth century. This article attempts to write around the discrepancy.

During the early development of the fourth film, Frank Darabont's script Indiana Jones and the City of the Gods featured the Cross of Coronado, seen by a drunken Indiana Jones at the National Museum before he tries to steal back the Chachapoyan Fertility Idol.

https://www.youtube.com/watch?v=qp0exoDv-UU

TAKES BACK THE CRUCIFIX

http://indianajones.wikia.com/wiki/Brotherhood_of_the_Cruciform_Sword

"The secret of the Grail has been safe for a thousand years. And for all that time the Brotherhood of the Cruciform Sword has been prepared to do anything to keep it safe."

―Kazim[src]

The Brotherhood of the Cruciform Sword was a secret society sworn to keep the Holy Grail safe from discovery and misuse. Members of the organization wore a tattoo of the cruciform on their chests.

The Brotherhood of the Cruciform Sword first appeared in Indiana Jones and the Last Crusade, an invention for the film.

The group was a later addition to the film's story as writer Jeffrey Boam wrote Kazim, then known as Kemal, as an agent of Hatay and Nazi ally pursuing the Holy Grail for his own purposes, and the men working under him were simply referred to as Turkish agents. However, in his rewrites, Tom Stoppard changed Kemal's name and motivations and developed the Brotherhood.

In LEGO Indiana Jones: The Original Adventures, the Brotherhood of the Cruciform Sword's members, Kazim included, survive their ambush of the Nazis (although some can be killed by Indy and Sallah if the player chooses to do so). In the sequel, however, the Brotherhood is only represented by Kazim in portable versions of the game as their subplot, along with the Biblioteca di San Barnaba scene and the Venice speedboat chase, is omitted from the home console iteration.

Small world, Dr. Jones. Too small for 2 of us! (takes back crucifix) This is the 2nd time I've had to reclaim my property from you! That belongs in a museum! So do you! Throw him over the side!

X MARKS THE SPOT INDIANA JONES - X IS QUADRANT

https://www.youtube.com/watch?v=dvywOjh_hdY

Quadrant

https://www.oddee.com/item_99646.aspx

In 1974, performance artist Chris Burden was nailed to the back of a Volkswagen Beetle, which was pushed out of a garage with the engine revving for two minutes before being pushed back into the garage. Certainly, the piece is suggestive of Christ's crucifixion and even the title — Trans-Fixed—recalls the concept of transubstantiation, the process whereby the bread and wine of the Eucharist (communion/Lord's Supper) become the body and blood of Christ.

In 1977, Burden's performance was immortalized in a song written by David Bowie for the album Heroes called "Joe the Lion." "Nail me to my car and I'll tell you who you are" was a part of the lyrics.

Burden is also notorious for such works as being bolted to a gallery floor between two buckets of water, each with a live 110-volt electric line submerged in it, so that a viewer could, if they wished, kick over the bucket and kill him (Prelude to 220, or 110, 1971), and having his friend shoot him in the arm with a .22 rifle (Shoot, Santa Ana Gallery, 1971).

http://massmoca.org/event/walldrawing414/

In the early 1980s Sol LeWitt began to use India ink and colored ink washes. The ink is applied with soft rags and dabbed onto the walls. The technique gives the works a fresco-like quality. LeWitt frequently applied the same systems he had used when working with pencil to the new medium. Wall Drawing 414 and the drawing located on the opposite wall, Wall Drawing 413, are both iterations of LeWitt’s Drawing Series IV. Between 1969 and 1970 LeWitt created four drawing series on paper. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts, each containing one of the four basic types of lines LeWitt used. The result is four possible permutations for each of the twenty-four original units, which are presented in a grid of twenty-four sets of four squares, each divided into four equal parts. In Drawing Series IV, LeWitt used the Cross Reverse method of change, in which the parts of each of the original units are crossed and reversed.

While Wall Drawing 413 illustrates the drawing series in color, Wall Drawing 414illustrates the series in gray ink washes. The former wall drawing mimics a colored pencil iteration of the drawing series where the lines are simple, or unlayered. Wall Drawing 414, on the other hand, is based on a version of the drawing series where the artist superimposed the four types of lines on top of each other. Translated into ink, this process of layering lines becomes a process of layering many coats of ink wash. These layers produce four distinct gradations in gray tone.

http://massmoca.org/event/walldrawing414/

The room (or wall) is divided vertically into fifteen parts. All one-, two-, three-, and four-part combinations of four colors, using color ink washes.

November 1984

Color ink wash

Courtesy of the Estate of Sol LeWitt

First Installation
Stedelijk Museum, Amsterdam

First Drawn By
Anthony Sansotta, Marien Schouten, Wim Starkenburg, Willem Wolff

MASS MoCA Building 7
Second Floor

In the mid-1980s Sol LeWitt, who had already been working with ink washes for a few years, began to layer the four basic colors of ink (gray, yellow, red, and blue), creating a variety of different hues. Wall Drawing 422 depicts gray, yellow, red, and blue and all of their possible composites, or two-, three-, and four-part combinations. LeWitt had previously applied this system to colored pencil, as seen in Wall Drawing 85, also on display at MASS MoCA on the ground floor.

The wall for Wall Drawing 422, divided into fifteen panels for each of the fifteen possible combinations, has four panels containing a single color, six panels containing combinations of two colors, four panels with combinations of three colors, and one panel with all four basic colors. The exacting mathematical permutations that assign the colors to the panels, when executed in ink, result in gem-like hues. In a sense, this wall drawing serves as a template for the color palette of other ink wall drawings.

Backstory
Once completed, ink wash wall drawings such as Wall Drawing 422 often have to be touched up in areas where the primer is exposed. The wall primer, which is painted on before the ink is applied, is sometimes visible along the borders of different colored sections. This occurs where the sections were not taped off firmly enough. To remedy this problem, the draftsmen use fine-tipped paintbrushes to paint in ink, covering the exposed white areas.

THE FOUR PAIRS OF FUNDAMENTAL QUALITIES OF DISEASE- I WENT TO AN ACUPUNCTURE PLACE AND THEY ASKED ME THE QUEESTIONS BASED ON THESE FOUR PAIRS

https://en.wikipedia.org/wiki/Traditional_Chinese_medicine

The process of determining which actual pattern is on hand is called 辩证 (pinyin: biàn zhèng, usually translated as "pattern diagnosis",[22] "pattern identification"[57] or "pattern discrimination"[95]). Generally, the first and most important step in pattern diagnosis is an evaluation of the present signs and symptoms on the basis of the "Eight Principles" (八纲, pinyin: bā gāng).[22][57] These eight principles refer to four pairs of fundamental qualities of a disease: exterior/interior, heat/cold, vacuity/repletion, and yin/yang.[57] Out of these, heat/cold and vacuity/repletion have the biggest clinical importance.[57] The yin/yang quality, on the other side, has the smallest importance and is somewhat seen aside from the other three pairs, since it merely presents a general and vague conclusion regarding what other qualities are found.[57] In detail, the Eight Principles refer to the following:

Yin and yang are universal aspects all things can be classified under, this includes diseases in general as well as the Eight Principles' first three couples.[57] For example, cold is identified to be a yin aspect, while heat is attributed to yang.[57] Since descriptions of patterns in terms of yin and yang lack complexity and clinical practicality, though, patterns are usually not labelled this way anymore.[57] Exceptions are vacuity-cold and repletion-heat patterns, who are sometimes referred to as "yin patterns" and "yang patterns" respectively.[57]

Exterior (表, pinyin: biǎo) refers to a disease manifesting in the superficial layers of the body – skin, hair, flesh, and meridians.[57] It is characterized by aversion to cold and/or wind, headache, muscle ache, mild fever, a "floating" pulse, and a normal tongue appearance.[57]

Interior (里, pinyin: lǐ) refers to disease manifestation in the zàng-fǔ, or (in a wider sense) to any disease that can not be counted as exterior.[60] There are no generalized characteristic symptoms of interior patterns, since they'll be determined by the affected zàng or fǔ entity.[57]

Cold (寒, pinyin: hán) is generally characterized by aversion to cold, absence of thirst, and a white tongue fur.[57] More detailed characterization depends on whether cold is coupled with vacuity or repletion.[57]

Heat (热, pinyin: rè) is characterized by absence of aversion to cold, a red and painful throat, a dry tongue fur and a rapid and floating pulse, if it falls together with an exterior pattern.[57] In all other cases, symptoms depend on whether heat is coupled with vacuity or repletion.[57]

Deficiency (虚, pinyin: xū), can be further differentiated into deficiency of qi, xuě, yin and yang, with all their respective characteristic symptoms.[57] Yin deficiency can also cause "empty-heat".[58]

Excess (实, pinyin: shí) generally refers to any disease that can't be identified as a deficient pattern, and usually indicates the presence of one of the Six Excesses,[60] or a pattern of stagnation (of qi, xuě, etc.).[102] In a concurrent exterior pattern, excess is characterized by the absence of sweating.[57]

http://massmoca.org/sol-lewitt/

WALL DRAWING 684A

Sol LeWitt
Sol LeWitt

Squares bordered and divided horizontally and vertically into four equal squares, each with bands in one of four directions.

June 1999

Color ink wash

Courtesy of the Estate of Sol LeWitt

First Installation
Galerie Franck + Schulte, Berlin

First Drawn By
Fransje Killaars, Roy Villevoye

MASS MoCA Building 7
Second Floor

Sol LeWitt’s earliest wall drawings utilize lines in four directions (vertical, horizontal, diagonal left, and diagonal right) drawn in graphite sticks and sometimes yellow, red, and blue colored pencil. When LeWitt began using ink washes in 1983, he frequently reiterated these patterns of parallel lines, replacing the fine graphite marks with thicker, bolder bands of ink alternating with bands of white wall. Later LeWitt often eliminated the white spaces all together, filling all the bands with saturated color, as seen in Wall Drawing 684A.

As LeWitt did with the pencil drawings, he limited his ink palette to gray, yellow, red, and blue and frequently layered or superimposed the four colors. While the superimposed pencil creates very faint variations in hue, the ink layers produce a broad color palette of rich, gem-like colors. The artist quickly expanded his palette even further by experimenting with multiple layers of the same color. This layering technique is often compared to composing the four basic colors are like notes that can be combined in many ways, resulting in a multitude of different melodies. Wall Drawing 684Ademonstrates the range of hues that LeWitt’s instructions can produce.

FOUR COURSE RADIO RANGE

https://en.wikipedia.org/wiki/File:LFR-loop.jpg

https://en.wikipedia.org/wiki/Low-frequency_radio_range

The low-frequency radio range (LFR), also known as the four-course radio range, LF/MF four-course radio range, A-N radio range, Adcock radio range, or commonly "the range", was the main navigation system used by aircraft for instrument flying in the 1930s and 1940s, until the advent of the VHF omnidirectional range (VOR), beginning in the late 1940s. It was used for en route navigation as well as instrument approaches and holds.[1][2][3]

The LFR ground component consisted of a network of radio transmission stations which were strategically located around the country, often near larger airports, approximately 200 miles apart. Early LFR stations used crossed loop antennas, but later designs were all based on the Adcock vertical antenna array for improved performance, especially at night.[3][5]

Each Adcock range station had four 134-foot-tall (41 m) antenna towers erected on the corners of a 425 × 425 ft square, with an optional extra tower in the center for voice transmission and homing.[3][5][9] The stations emitted directional electromagnetic radiation at 190 to 535 kHz and 1,500 watts, into four quadrants.[1][13][note 2] The radiation of one opposing quadrant pair was modulated (at an audio frequency of 1,020 Hz) with a Morse code for the letter A (· —), and the other pair with the letter N (— ·).[note 3] The intersections between the quadrants defined four course lines emanating from the transmitting station, along four compass directions, where the A and N signals were of equal intensity, with their combined Morse codes merging into a steady 1,020 Hz audio tone. These course lines (also called "legs"), where only a tone could be heard, defined the airways.[11]

https://books.google.com/books?id=f7ZEAwAAQBAJ&pg=PA135&lpg=PA135&dq=prayer+in+cruciform&source=bl&ots=P3r1Wl-4h0&sig=VpeMmmJIUFwo-nCY25ZlwEtiS70&hl=en&sa=X&ved=0ahUKEwjpm-3tzsTWAhWIiVQKHcTkBFAQ6AEIOjAD#v=onepage&q=four&f=false

THERE WERE FOUR HAWAIIAN CHIEFDOMS RULED FROM THE FOUR BIG ISLANDS

https://en.wikipedia.org/wiki/Ancient_Hawaii

The four biggest islands, the island of Hawaiʻi, Maui, Kauaʻi and Oʻahu were generally ruled by their own aliʻi nui (supreme ruler) with lower ranking subordinate chiefs called aliʻi ʻaimoku, ruling individual districts with land agents called konohiki.

LARGEST POWER PLANT FOUR SMOKE STACKS

https://en.wikipedia.org/wiki/Wolfsburg_Volkswagen_Plant

Volkswagen's Wolfsburg automotive plant is the largest manufacturing plant in the world in terms of area at just under 6.5 million m² (70 million sq ft)[1]. The Wolfsburg plant produced 815,000 cars in 2015. It is the worldwide headquarters of Volkswagen Group.[2]

https://en.wikipedia.org/wiki/Northport_Power_Station

The Northport Power Station is a natural gas and conventional oil electric power generating station located on the north shore of Long Island, at Waterside Avenue & Eatons Neck Road in Fort Salonga, New York.[1] The facility was built by the Long Island Lighting Company (LILCO) in 1967.[2] In August 2007 the Northport Power Station became part of National Grid USA as part of their purchase of KeySpan Energy.[3][4] The plant's electric output is distributed via Long Island Power Authority (LIPA).[4]

Northport is the largest oil-fired electric generating station on the East coast.[5] The four enormous smoke stacks which are a defining landmark of Northport can be seen as far away as Connecticut across Long Island Sound. Each stack is 600 feet (180 m) tall.[2][6]

https://en.wikipedia.org/wiki/BRIC

In economics, BRIC is a grouping acronym that refers to the countries of Brazil, Russia, India and China, which are all deemed to be at a similar stage of newly advanced economic development. It is typically rendered as "the BRICs" or "the BRIC countries" or "the BRIC economies" or alternatively as the "Big Four". A related acronym, BRICS, adds South Africa. There are arguments that Indonesia should be included into grouping, effectively turning it into BRIIC or BRIICS.[2]

The economic potential of Brazil, Russia, India and China is such that they could become among the four most dominant economies by the year 2050. The thesis was proposed by Jim O'Neill, global economist at Goldman Sachs.[12] These countries encompass over 25% of the world's land coverage and 40% of the world's population and hold a combined GDP (PPP) of $20 trillion. On almost every scale, they would be the largest entity on the global stage. These four countries are among the biggest and fastest-growing emerging markets.{Incal 2011}

FOUR BOILERS

https://en.wikipedia.org/wiki/Big_Allis

Big Allis, formally known as Ravenswood No. 3, is a giant electric power generator originally commissioned by Consolidated Edison Company (ConEd) and built by the Allis-Chalmers Corporation in 1965. Currently owned by LS Power and operated by Ethos energy group., it is located on 36th Avenue and Vernon Boulevard in western Queens, New York. Its main fuel is natural gas.

During 1963, Allis-Chalmers announced that ConEd had ordered the "world’s first MILLION-KILOWATT unit...big enough to serve 3,000,000 people." This sheer scale helped the plant become popularly known as "Big Allis". During the 1965 black-out the bearings of the Allis-Chalmers Turbine were damaged. The lube oil pumps were hooked up to the electrical grid, thus shutting them down during the blackout and causing bearing damage.

At the time of its installation, it was the world's largest steam energy generating facility. It is located on the Ravenswood site, consisting of Units 1, 2, 3 and 4, as well as several small gas turbines (GTs), and an oil depot. The site overall produces about 2,500 MW, or approximately 20% of New York City's current energy consumption.[1] It was retrofitted to burn some coal and oil in 1983.[2] In 2011, Big Allis burned 97% natural gas, 2% coal and 1% oil (used as backup fuels).

The Ravenswood, Queens site also includes a steam generation plant consisting of four Babcock & Wilcox boilers, commonly known as "The A House", currently owned and run by Con Edison. The plant helps in the supply of steam to the Manhattan steam system when needed, via the Ravenswood tunnel crossing under the East River.[3][4]