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FOUR LIONS

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

Depiction of the four lions capital surmounted by a Wheel of Law at Sanchi, Satavahana period, South gateway of stupa 3.

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

The most celebrated capital (the four-lion one at Sarnath (Uttar Pradesh)) erected by Emperor Ashoka circa 250 BC. also called the "Ashoka Column" . Four lions are seated back to back. At present the Column remains in the same place whereas the Lion Capital is at the Sarnath Museum. This Lion Capital of Ashoka from Sarnath has been adopted as the National Emblem of India and the wheel "Ashoka Chakra" from its base was placed onto the centre of the flag of India.

 

 

Depiction of the four lions capital surmounted by a Wheel of Law at Sanchi, Satavahana period, South gateway of stupa 3.

The lions probably originally supported a Dharma Chakra wheel with 24 spokes, such as is preserved in the 13th century replica erected at Wat Umong near Chiang Mai, Thailand by Thai king Mangrai.[18]

 

The pillar at Sanchi also has a similar but damaged four-lion capital. There are two pillars at Rampurva, one with a bull and the other with a lion as crowning animals. Sankissa has only a damaged elephant capital, which is mainly unpolished, though the abacus is at least partly so. No pillar shaft has been found, and perhaps this was never erected at the site.[19]

IMMITATIONS- IMMITATIONS OF THE FOUR LIONS- ONE FOUR ELEPHANTS

https://en.wikipedia.org/wiki/File:Base_of_pillar,_Indo-Corinthian_capitals_and_elephants_from_base_of_stupa,_Jarwal-Garhi.jpg

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

Later imitations of the pillars of Ashoka[edit]

 

A later imitation, the Heliodorus pillar had a Garuda on top. Circa 100 BCE

 

A gateway decoration built by the Satavahanas at Sanchi (1st century BCE).

 

Another imitation, an Indo-Corinthian capital with elephants in the four cardinal directions, Jamal Garhi. First centuries of our era.

 

The iron pillar of Delhi, erected by Chandragupta II, circa 400 CE.

 

Replica of Ashoka pillar at Wat U Mong near Chiang Mai, Thailand, built by King Mangrai in 13th century

 

A tagundaing replicating the four lions of Sarnath, at the Hpaung Daw U Pagoda in Inle Lake, Myanmar

CROSS/QUADRANT HALOS

https://en.wikipedia.org/wiki/Halo_(religious_iconography)

CROSS/QUADRANT HALOS

https://en.wikipedia.org/wiki/Halo_(religious_iconography)

https://en.wikipedia.org/wiki/File:Kölner_Meister_eines_Evangelienbuches_001.jpg

Nativity and Transfiguration of Christ, with cross haloes; the apostles, angels and prophets have plain ones. (1025-50, Cologne).

 

A cruciform halo, that is to say a cross within, or extending beyond, a halo is used to represent the persons of the Holy Trinity, especially Jesus, and especially in medieval art. In Byzantine and Orthodox images, inside each of the bars of the cross in Christ's halo is one of the Greek letters Ο Ω Ν, making up ὁ ὢν — "ho ōn", literally, "the Existing One" — indicating the divinity of Jesus.[22] At least in later Orthodox images, each bar of this cross is composed of three lines, symbolising the dogmas of the Trinity, the oneness of God and the two natures of Christ. In mosaics in Santa Maria Maggiore (432-40) the juvenile Christ has a four-armed cross either on top of his head in the radius of the nimbus, or placed above the radius, but this is unusual. In the same mosaics the accompanying angels have haloes (as, in a continuation of the Imperial tradition, does King Herod), but not Mary and Joseph. Occasionally other figures have crossed haloes, such as the seven doves representing the Seven gifts of the Holy Spirit in the 11th century Codex Vyssegradensis Tree of Jesse (where Jesse and Isaiah also have plain haloes, as do the Ancestors of Christ in other miniatures).[23]

 

This can be seen first in Giotto, who still gives Christ the cruciform halo which began to be phased out by his successors. In northern Europe the radiant halo, made up of rays like a sunburst, came into fashion in French painting around the end of the 14th century.

https://en.wikipedia.org/wiki/File:Fra_Angelico_005.jpg

Fra Angelico 1450, Mary's halo is in perspective, Joseph's is not. Jesus still has a cruciform halo.

 

https://en.wikipedia.org/wiki/File:Kölner_Meister_eines_Evangelienbuches_001.jpg

Nativity and Transfiguration of Christ, with cross haloes; the apostles, angels and prophets have plain ones. (1025-50, Cologne).

 

A cruciform halo, that is to say a cross within, or extending beyond, a halo is used to represent the persons of the Holy Trinity, especially Jesus, and especially in medieval art. In Byzantine and Orthodox images, inside each of the bars of the cross in Christ's halo is one of the Greek letters Ο Ω Ν, making up ὁ ὢν — "ho ōn", literally, "the Existing One" — indicating the divinity of Jesus.[22] At least in later Orthodox images, each bar of this cross is composed of three lines, symbolising the dogmas of the Trinity, the oneness of God and the two natures of Christ. In mosaics in Santa Maria Maggiore (432-40) the juvenile Christ has a four-armed cross either on top of his head in the radius of the nimbus, or placed above the radius, but this is unusual. In the same mosaics the accompanying angels have haloes (as, in a continuation of the Imperial tradition, does King Herod), but not Mary and Joseph. Occasionally other figures have crossed haloes, such as the seven doves representing the Seven gifts of the Holy Spirit in the 11th century Codex Vyssegradensis Tree of Jesse (where Jesse and Isaiah also have plain haloes, as do the Ancestors of Christ in other miniatures).[23]

 

This can be seen first in Giotto, who still gives Christ the cruciform halo which began to be phased out by his successors. In northern Europe the radiant halo, made up of rays like a sunburst, came into fashion in French painting around the end of the 14th century.

https://en.wikipedia.org/wiki/File:Fra_Angelico_005.jpg

Fra Angelico 1450, Mary's halo is in perspective, Joseph's is not. Jesus still has a cruciform halo.

https://en.wikipedia.org/wiki/Quartet_(sculpture)

Quartet is a public art work by artist Celine Farrell located on the south side of Milwaukee, Wisconsin. The painted steel sculpture consists of four panels radiating out from a center point. Each panel is painted a different color and has shapes cut out to represent the four seasons.[1] It is located at West Windlake Avenue and West Lincoln Avenue west of Kosciuszko Park in the Lincoln Village neighborhood.[2] A derivative sculpture was created by recycling the cut away elements; this work is installed nearby at Ben's Cycle and Fitness, maker of Milwaukee Bicycles.

https://en.wikipedia.org/wiki/Quartet_(sculpture)

Quartet is a public art work by artist Celine Farrell located on the south side of Milwaukee, Wisconsin. The painted steel sculpture consists of four panels radiating out from a center point. Each panel is painted a different color and has shapes cut out to represent the four seasons.[1] It is located at West Windlake Avenue and West Lincoln Avenue west of Kosciuszko Park in the Lincoln Village neighborhood.[2] A derivative sculpture was created by recycling the cut away elements; this work is installed nearby at Ben's Cycle and Fitness, maker of Milwaukee Bicycles.

16 SIDES

 

In art[edit]

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

https://en.wikipedia.org/wiki/File:Raffaello_Sanzio_-_Spozalizio_(detail)_-_WGA18625.jpg

The hexadecagonal tower from Raphael's The Marriage of the Virgin

In the early 16th century, Raphael was the first to construct a perspective image of a regular hexadecagon: the tower in his painting The Marriage of the Virgin has 16 sides, elaborating on an eight-sided tower in a previous painting by Pietro Perugino.[5]

 

 

A hexadecagrammic pattern from the Alhambra

Hexadecagrams (16-sided star polygons) are included in the Girih patterns in the Alhambra.[6]

FOUR LIMESTONE COLUMNS

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

Four Freedoms Monument

From Wikipedia, the free encyclopedia

 

Four Freedoms Monument, Madison, Florida

 

State of the Union (Four Freedoms) (January 6, 1941)

MENU0:00

Franklin Delano Roosevelt's January 6, 1941 State of the Union Address introducing the theme of the Four Freedoms (starting at 32:02)

Problems playing this file? See media help.

The Four Freedoms Monument was commissioned by President Franklin D. Roosevelt following his articulation of the "Four Freedoms" in his 1941 State of the Union Address. This was yet before the Attack on Pearl Harbor and the participation of the United States in World War II. Roosevelt felt that, through the medium of the arts, a far greater number of people could be inspired to appreciate the concept of the Four Freedoms.[1]

 

According to Roosevelt, the four fundamental freedoms are:

 

Freedom of speech and expression

Freedom of worship

Freedom from want

Freedom from fear

The statue was created by sculptor Walter Russell later that year, and was dedicated in 1943 before a crowd of 60,000 people at Madison Square Garden in New York City. It was dedicated to Colin P. Kelly, one of the first recognized American heroes of World War II. On June 14, 1944, the monument was re-dedicated in Kelly's hometown of Madison, Florida, with a speech by Governor Spessard Holland. [2]

 

 

Four Freedoms Monument, Evansville, IN

Other related monuments[edit]

The Four Freedoms monument in Evansville, Indiana was designed by Evansville architect Rupert Condict. It consists of four 24-foot tall, ionic Indiana limestone columns, each with the inscription on it of one of the four freedoms. Surrounding these central columns are 50 uniformly shaped blocks representing the 50 states of the United States. Each block represents a state and shows its state seal and its date it became a state. The monument was dedicated in 1976 in commemoration of the United States Bicentennial. [3]

 

The Four Freedoms Monument of Cleveland, Ohio is located in the Tremont neighborhood. It consists of a single column, with one of the four freedoms printed on each side. On top of the column is a sculpture of two hands holding a globe of the Earth.[4]

VELASQUEZ DEPICTED JESUS CRUCIFIED WITH FOUR NAILS- THERE IS THE DEBATE AND DYNAMIC WHETHER IT WAS THREE OR FOUR NAILS (Four always transcendent)

https://en.wikipedia.org/wiki/Christ_Crucified_(Velázquez)

Velázquez followed the accepted iconography in the 17th century. His master, Francisco Pacheco, a big supporter of classicist painting, painted the crucified Christ using the same iconography later adopted by Velázquez: four nails, feet together and supported against a little wooden brace, in a classic contrapposto posture. Both arms draw a subtle curve, instead of forming a triangle. The loincloth is painted rather small, thus showing the nude body as much as possible. The head shows a narrow halo, as if it came from the figure itself; the face is resting on the chest, showing just enough of his features. The long, straight hair covers a great part of the face, perhaps foreshadowing the death, already inflicted as shown by the wound on the right side. It lacks the characteristic dramatic qualities of Baroque painting.

FOUR PETALS i already discussed the seven chakras are the quadrant pattern fourth transcendnet four plus three pattern

 

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

 

Muladhara (Sanskrit: मूलाधार, IAST: Mūlādhāra, English: "root support") or the root chakra is one of the seven primary chakras according to Hindu tantrism. It is symbolized by a lotus with four petals and the colour red.

 

It is symbolized by a red, four-petaled lotus with a yellow square at its center. Each petal has one of the Sanskrit syllables वं vaṃ, शं śaṃ, षं ṣaṃ, and सं saṃ written on it in gold, representing the four vrittis: greatest joy, natural pleasure, delight in controlling passion, and blissfulness in concentration. Alternatively, they may represent dharma (psycho-spiritual longing), artha (psychic longing), kama (physical longing) and moksha (longing for spiritual liberation).[3] Eight spears point out of the sides and corners of the square.

 

The deity Indra is associated with Muladhara. In these depictions, he is yellow, four-armed, and holds a vajra and a blue lotus in his hands.[clarification needed] He is mounted upon the white elephant Airavata, who has seven trunks denoting the seven elements necessary for supporting life. Occasionally, Ganesha is also associated with Muladhara. In these depictions, he has orange skin, wears a yellow dhoti, and a green silk scarf draped around his shoulders. In three hands he holds a laddu, a lotus flower, and a hatchet, and the fourth is raised in the mudra of dispelling fear.

 

Seed mantra[edit]

The seed mantra syllable is लं laṃ.[4] Within the bindu, the point that forms a part of the letter, is Brahma. He is deep red, with four faces and four arms, holding a staff, a sacred vase of nectar, and a japa mala, and making the gesture of dispelling fear. Alternatively, instead of the staff and japa mala, he may hold a lotus flower and the sacred scriptures. He is seated on a swan. The goddess Dakini, his shakti, is depicted with him. She is beautiful, with three eyes and four arms. Dakini is usually depicted with red or white skin, holding a trident, a skulled staff, a swan, and a drinking vessel, and is seated on a swan. At times, instead of a swan and drinking vessel, she holds a sword and a shield.

 

In the Sufi system of Lataif there are two "lower" Lataif. One is the nafs, which is just below the navel. The nafs incorporates all the elements of a person's "lower self". The other similar lataif is called the qalab, or mould, which appears in seven lataif systems and corresponds to the physical body, but this is sometimes located at the top of the head.[9] Qalab is usually further divided into the four elements.

 

In the Kabbalah the lowest Sephiroth is known as Malkuth, and performs the same transcendental role as the basis of physical nature. It is associated with the sexual organ, in close contact with Yesod.[10]

 

In astrology Saturn is often correlated as being the planet of survival, limitation, the "physical plane", and having to do with the earthly nature of the Muladhara, and it is often referred to as being the ruling planet of the Muladhara by many modern astrologers.

 

In Earth-based spiritualities the Eight Directions are often used to represent the Wheel of the Year. The Eight Directions represent the four seasons (North – Winter, South – Summer, East – Spring, and West – Autumn) and the Winter and Summer Solstices, as well as the Spring and Fall Equinoxes. The midpoints between those four times of year are the four lesser directions. This Eight Direction model maps perfectly onto the eight arrows of the root chakra. The four petals of the chakra also map onto the four elements of Earth (North), Air (East), Fire (South) and Water (West). This chakra, being so closely related to the element of Earth, also reflects the earth elements.

FOUR OIL PAINTINGS AND FOUR DRAWINGS
https://en.wikipedia.org/wiki/Langlois_Bridge_at_Arles
The Langlois Bridge at Arles is the subject of four oil paintings, one watercolor and four drawings by Vincent van Gogh. The works, made in 1888 when Van Gogh lived in Arles, in southern France, represent a melding of formal and creative aspects. Van Gogh leverages a perspective frame that he built and used in The Hague to create precise lines and angles when portraying perspective.

four german artists
https://en.wikipedia.org/wiki/Expressionism
In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. The name came from Wassily Kandinsky's Der Blaue Reiter painting of 1903. Among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913.[9] Though mainly a German artistic movement initially[10] and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Furthermore, there have been expressionist writers of prose fiction, as well as non-German speaking expressionist writers, and, while the movement had declined in Germany with the rise of Adolf Hitler in the 1930s, there were subsequent expressionist works.

FOUR PROMINENT IRANIAN SCHOLARS

https://en.wikipedia.org/wiki/File:Persian_Scholar_pavilion_in_Viena_UN_(Avicenna).jpg

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

In June 2009 Iran donated a "Persian Scholars Pavilion" to United Nations Office in Vienna which is placed in the central Memorial Plaza of the Vienna International Center.[100] The "Persian Scholars Pavilion" at United Nations in Vienna, Austria is featuring the statues of four prominent Iranian figures.

Highlighting the Iranian architectural features, the pavilion is adorned with Persian art forms and includes the statues of renowned Iranian scientists Avicenna, Al-Biruni, Zakariya Razi (Rhazes) and Omar Khayyam.[101][102]

THE FOURTH IS DIFFERENT

https://en.wikipedia.org/wiki/File:Four_Commedia_dell’Arte_Figures_claude-gillot.jpg

https://en.wikipedia.org/wiki/Commedia_dell%27arte

Claude Gillot (1673–1722), Four Commedia dell'arte Figures: Three Gentlemen and Pierrot, c. 1715

16 CRAYONS

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

Metallic (Canada)

In 1987, Crayola released a pack of 16 metallic crayons in Canada.[2] 4 of the colors are named after 4 of the standard colors. Also, one of the colors is named before a Metallic FX color. The colors' hexadecimal values are currently unknown. The names of the colors are listed below:

 

Aged Copper

Aztec Gold

Bluetonium

Brass

Bronze

Cadmium Red

Cast Iron

Cobalt Blue

Copper

Gold

Kryptonite

Rust

Silver

Steel Blue

Tarnished Gold

Titanium

16 PACK

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

Magic Scent

In 1994, Crayola produced a 16-pack of crayons that released fragrances when used. In 1995, Crayola changed some of the scents because of complaints received from parents that some of the crayons smelled good enough to eat, like the Cherry, Chocolate, & Blueberry scented crayons.[16] Crayons with food scents were retired in favor of non-food scents. The thirty crayons all consisted of regular Crayola colors.[2]

 

Baby Powder (White) Banana (Dandelion) Blueberry (Blue (II)) Bubble Gum (Tickle Me Pink)

#FFFFFF #FED85D #4570E6 #FC80A5

Cedar Chest (Mahogany) Cherry (Maroon) Chocolate (Brown) Coconut (White)

#CA3435 #C32148 #AF593E #FFFFFF

Daffodil (Yellow) Dirt (Sepia) Eucalyptus (Jungle Green) Fresh Air (Sky Blue)

#FBE870 #9E5B40 #29AB87 #76D7EA

Grape (Violet) Jelly Bean (Orange) Leather Jacket (Black) Lemon (Yellow)

#8359A3 #FF8833 #000000 #FBE870

Licorice (Black) Lilac (Wisteria) Lime (Yellow Green) Lumber (Apricot)

#000000 #C9A0DC #C5E17A #FDD5B1

New Car (Blue (III)) Orange Peach Pine (Pine Green)

#0066FF #FF8833 #FFCBA4 #01786F

Rose (Red) Shampoo (Carnation Pink) Smoke (Gray) Soap (Periwinkle)

#ED0A3F #FFA6C9 #8B8680 #C3CDE6

Strawberry (Wild Strawberry) Tulip (Orange)

#FF3399 #FF8833

16 CRAYONS 16 SQUARES QMR

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

Gem Tones

 

All 16 Crayola Gem Tones crayon colors

In 1994, Crayola released the Gem Tones, a pack of 16 crayons modeled after precious stones. The colors' hexadecimal values are approximated below:

 

Amethyst Citrine Emerald Jade

#64609A #933709 #14A989 #469A84

Jasper Lapis Lazuli Malachite Moonstone

#D05340 #436CB9 #469496 #3AA8C1

Onyx Peridot Pink Pearl Rose Quartz

#353839 #ABAD48 #B07080 #BD559C

Ruby Sapphire Smokey Topaz Tiger's Eye

#AA4069 #2D5DA1 #832A0D #B56917

16 CRAYONS 16 SQUARES QMR

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

Color 'n Smell

Following previous issues with scented crayons in 1994 and 1995, Binney & Smith released a new line, known as "Magic Scent" crayons in 1997. None of the crayons were named after or given the scent of foods. The sixteen crayons all consisted of regular Crayola colors.[2]

 

Baby's Powder (White) Baseball Mitt (Burnt Sienna) Bubble Bath (Tickle Me Pink) Earthworm (Brick Red)

#FFFFFF #E97451 #FC80A5 #C62D42

Flower Shop (Wisteria) Fresh Air (Sky Blue) Grandma's Perfume (Orange) Koala Tree (Jungle Green)

#C9A0DC #76D7EA #FF8833 #29AB87

New Sneakers (Black) Pet Shop (Brown) Pine Tree (Pine Green) Saw Dust (Peach)

#000000 #AF593E #01786F #FFCBA4

Sharpening Pencils (Goldenrod) Smell the Roses (Red) Sunny Day (Yellow) Wash the Dog (Dandelion)

#FCD667 #ED0A3F #FBE870 #FED85D

16 CRAYONS 16 SQUARES QMR

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

Star Brite

In 1997, Crayola released a 16-pack of Star Brite crayons. However, it didn't contain any color names.

16 PACK

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

Color Mix-Up

In 1997, Crayola released a 16-pack of crayons, each of which contains a solid color with flecks of two other colors in it. Colors in chart below are approximated.[18] The hex RGB values are in the order of the predominant color and then the flecks. Colors for crayons other than Mixed Veggies and Star Spangled Banner come from information on the crayon wrapper.

 

Crayon name Crayon name Crayon name Crayon name

Prime Other1 Other2 Prime Other1 Other2 Prime Other1 Other2 Prime Other1 Other2

Baby's Blanket Blazing Bonfire Cool and Crazy Lemon Lime Zing

#FF8ABA #1F75FE #1CAC78 #FCE883 #FF7538 #EE204D #FFFFFF #7851A9 #0D98BA #FCE883 #1CAC78 #1F75FE

Magenta Mix-Up Mixed Veggies Off-Road Peaches 'n Cream

#FCB4D5 #1F75FE #C8385A #B6B650 #BD0B4C #F2DD87 #DEAA88 #2B6CC4 #C8385A #FFFFFF #FFCFAB #FCE883

Rainforest Shrimp Cocktail Southwest Star Spangled Banner

#6DAE81 #5D76CB #7851A9 #FFFFFF #FF7538 #C8385A #FFFFFF #FF7538 #5D76CB #F8EFE6 #1F75FE #EE204D

Stonewashed Surf's Up Twister Warm and Fuzzy

#80DAEB #2B6CC4 #C8385A #FFFFFF #1CA9C9 #FCE883 #FFFFFF #1CAC78 #FF7538 #FF8ABA #FF7538 #1F75FE

16 PACK - 16 SQUARES QMR FOUR TIMES FOUR

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

Pearl Brite

 

Crayola Pearl Brite, Color Mix-Up, and Crayons with Glitter

In 1997, Crayola released a 16-pack of Pearl Brite crayons:[19] These were designed to give soft pearlescent colors. These had a new wrapper design, black with a white oval Crayola logo and white text.

 

Aqua Pearl Black Coral Pearl Caribbean Green Pearl Cultured Pearl

#5FBED7 #54626F #6ADA8E #F5F5F5

Key Lime Pearl Mandarin Pearl Midnight Pearl Mystic Pearl

#E8F48C #F37A48 #702670 #D65282

Ocean Blue Pearl Ocean Green Pearl Orchid Pearl Rose Pearl

#4F42B5 #48BF91 #7B4259 #F03865

Salmon Pearl Sunny Pearl Sunset Pearl Turquoise Pearl

#F1444A #F2F27A #F1CC79 #3BBCD0

GLITTER CRAYONS- 16 OF THEM

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

Glitter crayons

In 1997, Crayola released Crayons with Glitter as part of a Special Effects crayons package. Starting as late as 1999, their crayon names don't appear on the crayon wrappers. In the below list, the background represents crayon color, and the highlighted "square of glitter" around text represents glitter color.[20]

 

Crayon name Crayon name

Primary Other Primary Other

 Black With Glitzy Gold Glitter   Blue With Shimmering Silver Glitter 

#000000 #E7C697 #1F75FE #CDC5C2

 Blue Green with Glitzy Gold Glitter   Carnation Pink With Lavender Glitter 

#0D98BA #E7C697 #FFAACC #FCB4D5

 Green With Twinkling Turquoise Glitter   Maroon With Glitzy Gold Glitter 

#1CAC78 #77DDE7 #C8385A #E7C697

 Orange With Twinkling Turquoise Glitter   Orchid With Twinkling Turquoise Glitter 

#FF7538 #77DDE7 #E6A8D7 #77DDE7

 Red With Shimmering Silver Glitter   Red Violet With Glitzy Gold Glitter 

#EE204D #CDC5C2 #C0448F #E7C697

 Royal Purple With Ruby Red Glitter   Sky Blue With Glitzy Gold Glitter 

#7851A9 #EE204D #80DAEB #E7C697

 White With Confetti Glitter   White With Glitzy Gold Glitter 

#FFFFFF Various #FFFFFF #E7C697

 Yellow With Rainbow Glitter   Yellow Green With Silver Glitter 

#FCE883 Various #C5E384 #CDC5C2

16 METALLIC CRAYONS

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

Metallic FX

 

All 16 Crayola Metallic FX crayon colors

In 2001, Crayola produced the Metallic FX crayons, a set of 16 metallic crayons whose names were chosen through a contest open to residents of the U.S. and Canada.[22] The hex triplets below are representative of the colors produced by the named crayons.[5] All colors are included in the special 152-count Ultimate Crayon Collection pack alongside 120 standard and 16 glitter crayons. Four of the colors are included in the regular 96-count crayon box.

 

Color Hex Code RGB Pack Added

1 Alloy Orange #C46210 (196, 98, 16)

2 B'dazzled Blue #2E5894 (46, 88, 148)

3 Big Dip O' Ruby #9C2542 (156, 37, 66) 96

4 Bittersweet Shimmer #BF4F51 (191, 79, 81)

5 Blast Off Bronze #A57164 (165, 113, 100)

6 Cyber Grape #58427C (88, 66, 124) 96

7 Deep Space Sparkle #4A646C (74, 100, 108)

8 Gold Fusion #85754E (133, 117, 78)

9 Illuminating Emerald #319177 (49, 145, 119)

10 Metallic Seaweed #0A7E8C (10, 126, 140)

11 Metallic Sunburst #9C7C38 (156, 124, 56)

12 Razzmic Berry #8D4E85 (141, 78, 133)

13 Sheen Green #8FD400 (143, 212, 0) 96

14 Shimmering Blush #D98695 (217, 134, 149)

15 Sonic Silver #757575 (117, 117, 117)

16 Steel Blue #0081AB (0, 129, 171) 96

16 GEL FX CRAYONS- 16 SQUARES IN THE QUADRANT MODEL

 

Gel FX

In 2001, Crayola produced the Gel FX crayons. However, it didn't contain any color names. Four of the colors are randomly included in the 96-count crayon box alongside four Metallic FX colors and is not included in the 152-count Ultimate Crayon Collection set. The hex triplets below are representative of the colors produced by the named crayons.

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

 

15 of 16 Crayola Gel FX Crayons

Color Hex Code RGB Pack Added

#FFBF7F (255, 191, 127)

#00D0B5 (0, 208, 181) 96

#7853A8 (120, 83, 168)

#63A5C3 (99, 165, 195)

#0081FF (0, 172, 252) 96

#FF3399 (255, 51, 153) 96

#CF0060 (207, 0, 96)

#FFFFFF (255, 255, 255)

#FF6699 (255, 102, 153)

#8F5873 (143, 88, 115)

#F26D7D (242, 109, 125)

#6666CC (102, 102, 204)

#F58345 (245, 131, 69)

#FFFF66 (255, 255, 102) 96

#99FF99 (153, 255, 153)

#12E3DB (18, 227, 219)

16 SILLY SCENTS

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

Silly Scents

 

All 16 Crayola Silly Scents crayons

The Silly Scents are produced by Crayola in a 16-pack. The sixteen crayons all consisted of regular Crayola colors.[2]

 

Alien Armpit (Yellow Green) Big Foot Feet (Tan) Booger Buster (Spring Green) Dingy Dungeon (Maroon)

#C5E17A #D99A6C #ECEBBD #C32148

Gargoyle Gas (Dandelion) Giant's Club (Chestnut) Magic Potion (Red) Mummy's Tomb (Gray)

#FED85D #B94E48 #ED0A3F #8B8680

Ogre Odor (Red Orange) Pixie Powder (Blue Violet) Princess Perfume (Tickle Me Pink) Sasquatch Socks (Violet Red)

#FF681F #6456B7 #FC80A5 #F7468A

Sea Serpent (Robin's Egg Blue) Smashed Pumpkin (Orange) Sunburnt Cyclops (Mango Tango) Winter Wizard (Sky Blue)

#00CCCC #FF8833 #E77200 #76D7EA

16 COLORS

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

Heads 'n Tails

 

All 16 Crayola Heads 'n Tails crayon colors

The eight Heads 'n Tails crayons are double-sided and encased in plastic tubes that function much like the ones on Crayola Twistables. Each crayon has two shades of color, for a total of 16 colors, which are approximated by the background colors and hex RGB values below.[23]

 

Sizzling Red Red Salsa Tart Orange Orange Soda

#FF3855 #FD3A4A #FB4D46 #FA5B3D

Bright Yellow Yellow Sunshine Slimy Green Green Lizard

#FFAA1D #FFF700 #299617 #A7F432

Denim Blue Blue Jeans Plump Purple Purple Plum

#2243B6 #5DADEC #5946B2 #9C51B6

Sweet Brown Brown Sugar Eerie Black Black Shadows

#A83731 #AF6E4D #1B1B1B #BFAFB2

THE ICONIC 64 BOX HAD 64 CRAYONS FOUR ROWS OF 16---- BEFORE THAT THERE WAS THE 48 BOX- WHICH IS THREE 16S

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

Introduced in 1958, the Crayola No. 64 was Binney & Smith's largest regular assortment for more than thirty years, and featured the last major changes to Crayola colors before 1990.[j] The iconic flip-top box arranged sixty-four crayons in four rows of sixteen, progressively raised to allow for easier access, and a crayon sharpener built into the back of the box.[2]

 

Although a few of the colors from the No. 48 box were discontinued at this time, most were retained, sometimes with different names, and several new crayons were added to the assortment, including six new "intermediate" hues, as the Crayola color wheel expanded from twelve to eighteen colors.[2]

TETRADIC COLOR THEORY

https://en.wikipedia.org/wiki/File:Moses_Harris,_The_Natural_System_of_Colours.jpg

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

Moses Harris, in his book The Natural System of Colours (1776), presented this color palette. Complimentary colors are two colors directly across from each other; for example, red and green are complimentary colors. Tetradic color palettes use four colors, a pair of complimentary color pairs. For example, one could use, yellow, purple, red, and green. Tetrad colors can be found by putting a square or rectangle on the color wheel.

GROUPED INTO FOUR TEMPERAMENTS

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

The "rose of temperaments" (Temperamentenrose), an earlier study (1798/9) by Goethe and Schiller, matching twelve colours to human occupations or their character traits (tyrants, heroes, adventurers, hedonists, lovers, poets, public speakers, historians, teachers, philosophers, pedants, rulers), grouped in the four temperaments.

 

Goethe also included aesthetic qualities in his colour wheel, under the title of "allegorical, symbolic, mystic use of colour" (Allegorischer, symbolischer, mystischer Gebrauch der Farbe), establishing a kind of color psychology. He associated red with the "beautiful", orange with the "noble", yellow to the "good", green to the "useful", blue to the "common", and violet to the "unnecessary". These six qualities were assigned to four categories of human cognition, the rational (Vernunft) to the beautiful and the noble (red and orange), the intellectual (Verstand) to the good and the useful (yellow and green), the sensual (Sinnlichkeit) to the useful and the common (green and blue) and, closing the circle, imagination (Phantasie) to both the unnecessary and the beautiful (purple and red).[24]

THE LATE STAGE OF ISLAMIC ART USED THE 16 POINTED STAR- 16 SQUARES QMR

16 POINTED STAR HIGHEST LEVEL- SIXTEENTH CENTURY

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

https://en.wikipedia.org/wiki/File:Doorway_in_Ben_Youssef_Madrasa.JPG

 

The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century.

 

A doorway in Ben Youssef Madrasa, Marrakech. The wooden doors are carved with a girih pattern of strapwork with a 16-point star. The arch is surrounded with arabesques; to either side is a band of Islamic calligraphy, above colourful geometric zellige tilework with 8-point stars.

 

Late stage[edit]

Elaborate late stage Islamic woodwork

Late stage: geometric, vegetal, and calligraphic patterns around the Mihrab at the Jama Masjid, Fatehpur Sikri. 1571-5

The beginning of the late stage is marked by the use of simple 16-point patterns at the Hasan Sadaqah mausoleum in Cairo in 1321, and in the Alhambra in Spain in 1338–1390. These patterns are rarely found outside these two regions. More elaborate combined 16-point geometrical patterns are found in the Sultan Hasan complex in Cairo in 1363, but rarely elsewhere. Finally, 14-point patterns appear in the Jama Masjid at Fatehpur Sikri in India in 1571–1596, but in few other places.[21][d]

MOST FAMOUS PRINT IS THE FOUR HORSEMEN

https://en.wikipedia.org/wiki/Apocalypse_(Dürer)

https://en.wikipedia.org/wiki/Apocalypse_(Dürer)

The Apocalypse, properly Apocalypse with Pictures (Latin: Apocalypsis cum Figuris)[1] is a famous series of fifteen woodcuts by Albrecht Dürer of scenes from the Book of Revelation, published in 1498, which rapidly brought him fame across Europe.[2] The series was probably cut on pear wood blocks and drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer. Work on the series started during Dürer's first trip to Italy (1494–95), and the set was published simultaneously in Latin and German at Nuremberg in 1498, at a time when much of Europe anticipated a possible Last Judgment at 1500. The most famous print in the series is The Four Horsemen of the Apocalypse (ca. 1497–98),[3] referring to Revelation 6:1–8.[4] The layout of the cycle with the illustrations on the recto and the text on the verso suggests the privileging of the illustrations over the text. The series brought Dürer fame and wealth as well as some freedom from the patronage system, which, in turn, allowed him to choose his own subjects and to devote more time to engraving. In 1511, Dürer published the second edition of Apocalypse in a combined edition with his Life of the Virgin and Large Passion; single impressions were also produced and sold.[5]

 

4. The four horsemen of the Apocalypse

6. Four angels holding back the winds, and the marking of the elect

9. The four angels of Death

FOUR BOOKS OF HUMAN PROPORTION AND FOUR BOOKS OF MEASURMENT

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

Four Books on Measurement[edit]

Dürer's work on geometry is called the Four Books on Measurement (Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler).[28] The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522.

 

Four Books on Human Proportion[edit]

Dürer's work on human proportions is called the Four Books on Human Proportion (Vier Bücher von Menschlicher Proportion) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of, "two to three hundred living persons,"[19] in his own words. The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio's 'De harmonica mundi totius' of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement.

FOUR APOSTLES

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

The Four Apostles is a panel painting by the German Renaissance master Albrecht Dürer. It was finished in 1526, and is the last of his large works. It depicts the four apostles larger-than-life-size. The Bavarian Elector Maximilian I obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers. Since then, the painting has been in Munich and, despite all the efforts of Nuremberg since 1806, it has not been returned.

 

Contents [hide]

1 Description

2 Historical context

3 See also

4 References

5 External links

Description[edit]

External video

Albrecht Dürer - The Four Holy Men (detail) - WGA07027.jpg

Smarthistory - Dürer's The Four Apostles

When Dürer moved back to Nuremberg he produced many famous paintings there, including several self-portraits. He gave The Four Apostles to the town council. Saints John and Peter appear in the left panel; the figures in the right panel are Saints Mark and Paul. Mark and Paul both hold Bibles, and John and Peter are shown reading from the opening page of John's own Gospel. At the bottom of each panel, quotations from the Bible are inscribed.[1]

 

The apostles are recognizable by their symbols:

 

St. John the Evangelist: open book

St. Peter: keys

St. Mark: scroll

St. Paul: sword and closed book

They are also associated with the four temperaments.

 

St. John: sanguine

St. Peter: phlegmatic

St. Mark: choleric

St. Paul: melancholy

Historical context[edit]

The Four Apostles was created during the Reformation, begun in 1517 and having the largest initial impact on Germany. As it was a Protestant belief that icons were contradictory to the Word of God, which was held in the utmost supremacy over Protestant ideas, the Protestant church was not a patron of any sacred art. Therefore, any Protestant artist, like Dürer became, had to commission their own works. Many aspects of the image depicted prove significant in light of the Reformation itself.[1]

The Four Witches

From Wikipedia, the free encyclopedia

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

The Four Witches, 21.6cm x 15.6cm (8.250in x 6.125in)

The Four Witches (German: Die Vier Hexen, or Four Naked Women[1] or Four Sorceresses[2]) is a 1497 engraving by the German Renaissance master Albrecht Dürer. The work shows four sensual, exuberant nude women gathered conspiratorially in a circle underneath a hanging ball and before an open stone window. The window, as indicated by bones scattered across from it, is likely a gateway to death. The portal to the right shows a demon's face engulfed in flames, and is likely intended as a gateway to hell.[3] The woman from the second right most likely represents Discordia, the goddess of discord, who threw an apple amongst Juno, Minerva and Venus and thus ignited the Trojan War.

 

As with many of Dürer's engravings, the intended meaning or source is unclear; possible interpretations range from the four seasons and the four elements, to Aphrodite (represented here by the woman to the right wearing a myrtle wreath)[1] and the Graces, the Three Fates, or more simply four witches or four girls in a brothel. The most accepted meaning is that the work was created as an allegorical warning against discord - that disagreement leads invariable to hell and death. The positioning of the women matches a marble group of the three graces known to the quattrocento, and likely Dürer would have seen it from copies.[3] The ball hanging above the figures bears the letters "OGH" - meaning "Odium generis humani/odium of the human race", or possibly "Oh Gott hüte" (Oh God Forbid). The art historian Marcel Briton suggests that the work may not have any specific meaning, and is merely a portrait of four nudes, "the whim of a young artist annoyed by the puritanical conventionality of his fellow-citizens".[2]

 

The drawing has been copied and adapted a number of times; the Austrian artist Adolf Frohner (b. 1934) produced a version where the women are shown wearing bras and garter belts.[4]

A FOUR WORK CYCLE

https://en.wikipedia.org/wiki/Knight,_Death_and_the_Devil

Austrian 19th-century art historian Moritz Thausing suggested that Dürer had created Knight, Death and the Devil as part of a four-work cycle, each designed to illustrate one of the four temperaments. According to Thausing, the work was intended to represent sanguinity, hence the "S" engraved in the work.[15]

FOUR BY FOUR MAGIC SQUARE- 16 SQUARES- 16 SQUARES QMR

https://en.wikipedia.org/wiki/File:Albrecht_Dürer_-_Melencolia_I_(detail).jpg

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

The 4 × 4 magic square, with the two middle cells of the bottom row giving the date of the engraving: 1514. The square features the traditional magic square rules based on the number 34, and in addition, the square's four quadrants, corners and center also equal this number.

Detail of the magic square

 

Quadrant

IT IS TETRASTYLE FOUR COLUMNS

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

The Temple of Athena Nike was finished around 420 BC,[3] during the Peace of Nicias. It is a tetrastyle (four column) Ionic structure with a colonnaded portico at both front and rear facades (amphiprostyle), designed by the architect Kallikrates. The columns along the east and west fronts were monolithic columns. The temple ran 27 feet long by 18 and a half feet wide and 23 feet tall. The total height from the stylobate to the acme of the pediment while the temple remained intact was a modest 23 feet. The ratio of height to diameter of the columns is 7:1, the slender proportions creating an elegance and refinement not encountered in the normal 9:1 or 10:1 of Ionic buildings. Constructed from white Pentelic marble, it was built in stages as war-starved funding allowed.

FOUR BUILDINGS OF JUPITER- JUPITER- THE SUPREME GOD (some said the only God)- WAS REPRESENTED BY THE NUMBER FOUR

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

A crude image on a coin of 78 BC shows only four columns, and a very busy roofline.[7]

 

With two further fires, the third temple only lasted five years, to 80 AD, but the fourth survived until the fall of the empire. Remains of the last temple survived to be pillaged for spolia in the Middle Ages and Renaissance, but now only elements of the foundations and podium or base survive; as the subsequent temples apparently reused these, they may partly date to the first building. Much about the various buildings remains uncertain.

 

Fourth building[edit]

Domitian immediately began rebuilding the temple, again on the same foundations, but with the most lavish superstructure yet. According to Plutarch, Domitian used at least twelve thousands talents of gold for the gilding of the bronze roof tiles alone.[27] Elaborate sculpture adorned the pediment. A Renaissance drawing of a damaged relief in the Louvre Museum shows a four-horse chariot (quadriga) beside a two-horse chariot (biga) to the right of the latter at the highest point of the pediment, the two statues serving as the central acroterion, and statues of the god Mars and goddess Venus surmounting the corners of the cornice, serving as acroteria.

 

In the centre of the pediment the god Jupiter was flanked by Juno and Minerva, seated on thrones. Below was an eagle with wings spread out. A biga driven by the sun god and a biga driven by the moon were depicted either side of the three gods.

 

Relief of Marcus Aurelius sacrificing at the fourth temple.

TETRASTYLE IS FOUR

https://en.wikipedia.org/wiki/Temple_of_Augustus,_Pula

The Temple of Augustus (Croatian: Augustov hram)[a] is a well-preserved[4] Roman temple in the city of Pula, Croatia (known in Roman times as Pola). Dedicated to the first Roman emperor, Augustus, it was probably built during the emperor's lifetime at some point between 2 BC and his death in AD 14.[5] It was built on a podium with a tetrastyle prostyle porch of Corinthian columns and measures about 8 by 17.3 m (26 by 57 ft), and 14 m (46 ft) high.[6] The richly decorated frieze is similar to that of a somewhat larger and older temple, the Maison Carrée in Nîmes, France.[7] These two temples are considered the two best complete Roman monuments outside Italy.[8]

SIXTEEN COLUMNS SIXTEEN SQUARES QMR- SIXTEENTH IS DIFFERENT- FOURTH SQUARE OF FOURTH QUADRANT

https://en.wikipedia.org/wiki/File:Temple_of_Olympian_Zeus_(Dec._2016).JPG

https://en.wikipedia.org/wiki/Temple_of_Olympian_Zeus,_Athens

It was probably never repaired and was reduced to ruins thereafter. In the centuries after the fall of the Roman Empire, it was extensively quarried for building materials to supply building projects elsewhere in the city. Despite this, a substantial part of the temple remains today, notably sixteen of the original gigantic columns, and it continues to be part of a very important archaeological site of Greece.

 

View of the Temple of Olympian Zeus in 2016, showing the sixteen surviving columns, one of which is lying on the ground.

 

Fifteen columns remain standing today and a sixteenth column lies on the ground where it fell during a storm in 1852. Nothing remains of the cella or the great statue that it once housed.

DOME SIXTEEN SECTORS- 16 BUTTERESSES- ATTIC DIVIDED IN 16 PANELS- SIXTEEN STONE RIBS- 16 IONIC COLUMNS- SIXTEEN CANDLESTICK FINIALS

http://romanchurches.wikia.com/wiki/St_Peter%27s

 

It is accepted that the drum of the dome is basically as intended by Michelangelo. This has sixteen sectors, each with a large rectangular window with alternate triangular and segmental pediments. Over these windows is an entablature running round the dome, and on top of that is an attic on which the actual dome sits. In between the windows are pairs of Corinthian columns which support plinths formed by posting out the entablature. These columns and plinths look as if they are actually doing nothing, and the suggestion is that they were intended for statues. This might have been so, but in reality they disguise sixteen heavy pillar-buttresses intended to stop the drum spreading out under the weight of the dome.

 

The attic is divided into sixteen panels, each with a swag of fruit and a lion's mask. The dome itself is ellipsoidal (egg-shaped); it is thought that Michelangelo wanted a hemispherical one. It is in lead, which covers sixteen stone ribs meeting at a lantern. Each sector has three windows lighting the void between the interior and exterior domes, and also the way up to the viewing gallery around the lantern. The bottom one of each threesome is square, under either a segmental or triangular pediment according to the style of the large window in the drum below. The second is round, with a curly Baroque frame topped by a lion's mask. The topmost is simply round, in a slightly dished frame.

 

The design of the lantern is fiddly. It has sixteen conjoined pairs of Ionic columns, supporting a cog-wheel entablature above which is an attic. This has little double-volute buttresses, and supports a ring of sixteen candlestick finials. The cupola is a ribbed cone, with a cross and ball finial.

https://en.wikipedia.org/wiki/Sixteen_(restaurant)

Sixteen is a Michelin two-starred, Forbes’ Five Star and AAA Five Diamond restaurant focused on responsibly sourcing the highest-quality ingredients in the world and located on the sixteenth floor of Trump International Hotel and Tower, Chicago in the Near North Side community area of Chicago, Illinois. It is one of three food and dining options in the hotel's room service offering.[1] Sixteen opened in early February 2008,[2] and an adjoining outdoor patio terrace, named The Terrace, opened on June 25, 2009 following the completion of the hotel's construction.[3]

https://en.wikipedia.org/wiki/File:Angel_Appearing_to_Zacharias_(detail)_-_1486-90.JPG

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

Four Humanist philosophers under the patronage of the Medici: Marsilio Ficino, Cristoforo Landino, Angelo Poliziano and Demetrius Chalcondyles. Fresco by Domenico Ghirlandaio.

SIXTEEN SIDED BARN (THAT IS THE HIGHEST/TRANSCENDENT)

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

Round barns date to the 18th and early 19th century. George Washington designed and built a sixteen-sided threshing barn at his Dogue Run Farm in Fairfax County, Virginia in 1793.[4] The first truly round barn in North America was constructed in 1826 at Hancock Shaker Village.[5] A few other round barns appeared on the American landscape before the Civil War.[4]

 

The "Octagonal Era" of round barn design stretched from about 1850 until 1900. Round barns, such as Washington's, were often multi sided in their earliest incarnations. Multi-sided round barns came in a variety of polygonal shapes, including layouts of six, eight, nine, ten, twelve, fourteen and sixteen sides. Polygonal barns constructed before the advent of balloon framing tended to have interior spaces that were more rectangular than circular.[2]

 

The earliest round barns tend to have several flat sides, usually twelve or sixteen. They also tend to be wood-sided while the later round barns are more often faced with brick or glazed tile. The interior design of round barns shifted as well. The early round barns had cattle stanchions on the first floor with the whole of the loft used for hay and feed storage. Later barns possessed a central space which rose up from the ground level through the entire building. The cattle stanchions in this variation of round barn were arranged around a circular manger on the lower level. Above the stanchion level a circular wagon drive allowed hay to be unloaded into the central mow as the wagon circled the perimeter. The final stage of interior design in round barns included a storage silo through the center of the structures. These were not really added until silos became fixtures of American farms. Sometimes the central silo would project up through the roof.[1]

SIXTEEN SIDE TABLE- 16 SQUARES QMR

https://en.wikipedia.org/wiki/File:Robert_Campin_006.jpg

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

The lion finials on the bench may have a symbolic role (referring to the Seat of Wisdom, or throne of Solomon) – this feature is often seen in other paintings, religious or secular (like Jan van Eyck's Arnolfini Portrait). The arrangements for washing at the back of the room, which are considered unusual for a domestic interior, may relate to the similar arrangements of a piscina for the officiating priest to wash his hands during Mass. The sixteen sides of the table may allude to the sixteen main Hebrew prophets; the table is usually seen as an altar, and the archangel Gabriel wears the vestments of a deacon.[29]

SIXTEEN SQUARES QMR

 

http://teamico.wikia.com/wiki/The_Colossi

The main goal of Shadow of the Colossus is to seek out and kill the sixteen colossi (巨像 Kyozō) in the Forbidden Lands. The colossi are imposing creatures made of stone and dark fur resembling grass. Surprisingly, not all of them are huge in size, but all of them require some thinking to find (and especially to exploit) their magic sigils.

Sixteen Jackies

https://uploads6.wikiart.org/images/andy-warhol/sixteen-jackies.jpg

Andy Warhol

Date: 1964

Style: Pop Art

Genre: portrait

Tags: designs-and-sketches

16 SIDES

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

The Nott Memorial is an elaborate 16-sided stone-masonry building which serves as both architectural and physical centerpiece of Union College in Schenectady, New York.

MCDONALDS NUGGETS HAVE FOUR SHAPES

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

According to McDonald's, the nuggets come in four shapes: the bell, the bow-tie, the ball and the boot.[6]

THE FOUR C'S

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

A mnemonic device, the "four Cs" (color, cut, clarity and carats), has been introduced to help the consumer understand the factors used to grade a diamond.[8] With modification, these categories can be useful in understanding the grading of all gemstones. The four criteria carry different weight depending upon whether they are applied to colored gemstones or to colorless diamonds. In diamonds, cut is the primary determinant of value, followed by clarity and color. Diamonds are meant to sparkle, to break down light into its constituent rainbow colors (dispersion), chop it up into bright little pieces (scintillation), and deliver it to the eye (brilliance). In its rough crystalline form, a diamond will do none of these things; it requires proper fashioning and this is called "cut". In gemstones that have color, including colored diamonds, it is the purity and beauty of that color that is the primary determinant of quality.

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

The Four Philosophers is a 1611-12 painting by Peter Paul Rubens. It is now held in the Galleria Palatina of the Palazzo Pitti in Florence. It also features in the 1772 painting The Tribuna of the Uffizi by Zoffany.

 

Beginning from left to right it shows Peter Paul, Philip Rubens (the painter's brother), Justus Lipsius, and Joannes Woverius. In the background is Peter Paul's bust of Seneca, now believed to be a copy of an imaginary Hellenistic portrait of the Greek poet Hesiod.

DAVINCI DESCRIBES THE MEASUREMENTS ALL THROUGH FOURS AND HIS FAMOUS VITRUVIAN MAN IS FOUR CUBITS HIGH AND FOUR CUBITS WIDE- THAT IS FOUR BY FOUR WHICH IS 16- I PUT ALL THIS IN MY OVER 60 QMR BOOKS- PLUS VITRUVIAN MAN IS CRUCIFORM

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

The first paragraph of the upper part reports Vitruvius: "Vetruvio, architect, puts in his work on architecture that the measurements of man are in nature distributed in this manner, that is:

 

a palm is four fingers

a foot is four palms

a cubit is six palms

four cubits make a man

a pace is four cubits

a man is 24 palms

 

The points determining these proportions are marked with lines on the drawing. Below the drawing itself is a single line equal to a side of the square and divided into four cubits, of which the outer two are divided into six palms each, two of which have the mirror-text annotation "palmi"; the outermost two palms are divided into four fingers each, and are each annotated "diti".

 

Leonardo is clearly illustrating Vitruvius' De architectura 3.1.2-3 which reads:

 

For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth. If we take the height of the face itself, the distance from the bottom of the chin to the under side of the nostrils is one third of it; the nose from the under side of the nostrils to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown.