CHINA'S FOUR GREAT FOLK TALES
The Butterfly Lovers is a Chinese legend of a tragic love story of a pair of lovers, Liang Shanbo (梁山伯) and Zhu Yingtai (祝英台), whose names form the title of the story. The title is often abbreviated to Liang Zhu (梁祝).
THREE PLUS ONE PATTERNS- IN MANET'S THE FOURTH FIGURE IS IN THE BACKGROUND SHADOWS THE THREE IN THE FRONT- IN GOYA'S PAINTING THREE FIGURES ARE SITTING THE FOURTH IS STANDING
‘The Balcony’ a painting by Edouard Manet was inspired by ‘The Majas at the balcony’ made by Francisco Goya. Manet applied an interesting color contrast, the three models are Manet’s friends shown in a casual setting. Goya’s theme on the other hand is rather tense, two elegant women are watched over by hostile male figures in the background.
‘The Balcony’ a painting by Edouard Manet
‘The Majas at the balcony’ made by Francisco Goya (Original)
PICASSO WAS INSPIRED BY WOMEN OF ALGIERS IN THE APARTMENT MASTERPIECE BY EUGENE DELACROIX- IT IS A THREE PLUS ONE COMPOSITION- THREE FIGURES CLOSE TOGETHER AND THE FOURTH SEPARATE
‘Women of Algiers in their Apartment’ is a depiction of a Muslim harem, the painting was created after Eugene Delacroix’s visit to Morocco. The artist was captivated by the Oriental culture, brightly colored flowing costumes, Caravans, Veiled women, and Erotic Harems. In homage to this artwork, Pierre-Auguste Renoir created ‘Parisian Women in Algerian Costume (The Harem). Later Picasso in his cubist style made a series of 15 paintings inspired by Delacroix’s masterpiece.
‘Women of Algiers in their Apartment’ by Eugene Delacroix’s (Original)
‘Parisian Women in Algerian Costume’ by Renoir
Women of Algiers by Picasso
THE GETTYSBERG ADDRESS BEGINS WITH THE WORD FOUR
Beginning with the now-iconic phrase "Four score and seven years ago"—referring to the United States Declaration of Independence in 1776—Lincoln examined the founding principles of the United States as stated in the Declaration of Independence. In the context of the Civil War, Lincoln also memorialized the sacrifices of those who gave their lives at Gettysburg and extolled virtues for the listeners (and the nation) to ensure the survival of America's representative democracy: that "government of the people, by the people, for the people, shall not perish from the earth."
ARP TRIED TO USE CHANCE AND DROP THE SQUARES RANDOMLY- BUT ART CRITICS THINK THAT HE MOST LIKELY ORGANIZED THE COMPOSITION- IF YOU LOOK AT THE TOP RIGHT THERE IS A PERFECT QUADRANT
Chance Is My Raw Material
June 14, 2012
What are the laws of chance?
What are the odds you can create a work of art according to the laws of chance?
“Chance is my raw material” is a quote from the artist Jean Hans Arp (1886-1966), a German-French sculptor, painter and poet.
Arp titled many of his works Rectangles (or Squares) Arranged According to the Laws of Chance.
I am sure the Laws of Chance don’t actually work.
Jean Hans Arp
The image above is titled Rectangles Arranged According to the Laws of Chance.
I Tried to Drop Squares and See How They Land
I created a studio experiment with assorted papers. I wanted to see if there was any possibility I could get a result that looked like the collages by Jean Arp.
The squares never landed where I intended. I always had to move them closer together or further apart. Many squares landed on top of other squares and I wanted space between them.
Space is important and it has to be just the right amount of space.
SEED PATTERN LABARYNTH CROSS
Simple 3-circuit labyrinth
This is the easiest labyrinth to draw and build. Once you know the seed pattern, it is easy. It is simply a cross with a dot in each quadrant to form a square. The bigger the cross, the bigger your labyrinth will be.
Connect the top of the cross with the dot in the upper right corner, making a clockwise circular line.
Drawing a bigger circular line, connect the dot in the upper left corner with the right arm of the cross.
Connect the left arm of the cross in a still bigger circular line with the dot in the lower right corner.
And lastly, connect the dot in the lower left corner in the last and outside circular line with the bottom bar of the cross. Voila!
Classical 7-circuit labyrinth
Here the seed pattern has extra lines between the cross and the dots, but the process is exactly the same. You always start with connecting the top of the cross with the very next line on the right-hand side. Connecting the rest of the series of circular lines (see pictures) may seem daunting at first, but once you get the knack of it, it is fun!
There are the “black” paintings in all of their anti-heroic glory. Thirteen of them are on display, the most ever shown in one place, on loan from private and museum collections in the United States (along with one from Korea), and dated between 1960 and 1966 (Reinhardt started the series in 1951 and he worked on it until a year before he died). They all share the same title, Abstract Painting, and are each 60 x 60 inches. The works are famously not “black,” but black with faint bands of blue, and organized according to a six-part cruciform grid
Ad Reinhardt, Abstract Painting, 1962.
Ad Reinhardt, Abstract Painting, 1960. Oil on canvas, 60 x 60 inches.
YAKOVICH ON THE THREE-FOUR PATTERN
Shira J. Golani
Furthermore, the main part of the book of Judges²⁹ is comprised of traditions of two natures, representing two types of leadership: the charismatic saviors and the »Minor Judges«. A commonly held opinion in scholarship is that the deuter-onomistic historian inserted the list³⁰ of Minor Judges into a document containing a collection of saviors.³¹ The evidence of I Sam 12,9–11 now strengthens the possi-bility of the existence of such an earlier »Book of Saviors«. If such a composition existed, then I Sam 12,9.11 contains the list of its contents.Understanding I Sam 9–11 as a representation in list-form of the savior tradi-tions allows us to reach some conclusions as to its chronological and geographi-cal provenance. Where and when it came to be can be determined more precisely than before, in accordance to the provenance of the »Book of Saviors«.³² This compilation of traditions, much longer and detailed than I Sam 12,9–11, has been shown to be focused on Northern characters and locations,³³ thus coming from the Northern Kingdom of Israel, before its demise by the Assyrians in 722 BCE. We can now suggest that I Sam 12,9–11 represents the Northern-focused, pre-deuter-onomistic, 9th-8th centuries BCE background of the Book of Saviors.
3 The »Three-Four« Literary Pattern and I Sam 12,9–11
Two literary considerations come to light regarding the short pericope of I Sam 12,9–11: the »Three-Four« pattern and internal sequencing. The two are inter-related in this case.
I.e. Jdc 2,6–16,31, the book of Judges without the prologue and appendix.
One list, now in two parts: Jdc 10,1–5 and 12,8–15 (or 12,7–15; if the list-like statement regard-ing Jephthah in v. 7 is also taken to be part of that list).
Possibly through the joining together of two traditions regarding Jephthah. See Noth, Deuter-onomistic History, 42–43. See also, e.g., Wellhausen, Composition, 214–215; Budde, Die Bücher Richter und Samuel, 92–94; G. F. Moore, Judges, ICC, 1895, xxxiii–xxxvii; B. Halpern, The First Historians: The Hebrew Bible and History, 1988, 121–134.
Remembering that it should not be dated according to the composite chapter of I Sam 12, which is to be considered later than the list (and traditions) it incorporates. For the chapter’s setting in the 6
century BCE, as part of the work of the (revisionist) Deuteronomistic History, see e.g. Noth, Deuteronomistic History, 47–48 with 79–83; H. W. Hertzberg, I & II Samuel, trans. by J. S. Bowden, OTL, 1974, 97.100; Campbell, 1 Samuel, 127.130. See also Hayut, Former Prophets, 197–211, esp. 210–211.
The saviors hark from Northern tribes and territories: Ehud from Benjamin (Jdc 3,15), Shamgar possibly coming from Beit Anat in the territory of Naphtali (see Jos 19,38; Jdc 1,33), Barak from Naphtali (Jdc 4,6), Gideon from Manasseh (6,15), Jephthah from Gilead (11,1), and Samson from the tribe of Dan (13,2.25), that although is still in his southern territory in the Samson cycle, was well located in the North soon after. See also the reference to Hayut in the previous note.
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Three Oppressors and Four Saviors
The pericope of I Sam 12,9–11 brings together seven savior stories, divided into two parts – three oppressors and then four (i.e. three + one) saviors. The lit-erary device known as the »Ascending Number«, »Graded Number« or »X/X+1« pattern, has long been identified and studied in the Biblical and extra-Biblical texts.³⁴ Of special interest here is the case of the 3/4 sequence, in which the fourth item, or a group of four, signify a change from the previous three.³⁵As emphasized by Talmon, this pattern is not a mere literary convention, nor is it just a mnemotechnic device.³⁶ The element of »four« or »fourth« is set in con-tradiction to the »three« that come before it. To put it in Talmon’s words:
[T]he fourth, the one up, is singled out as being intrinsically different from the three that are considered a tripartite unit, putting in relief the qualitative singularity of the »one« that outranks them in a positive, and occasionally a negative sense.³⁷
This pattern can now be discerned in I Sam 12,9–11, where three oppressors are followed by four saviors, whom YHWH sent against them³⁸ and prevailed over them. The role of the saviors as the means of defeating the oppressors and deliv-ering Israel is thus presented not only by content, but also expressed by the lit-erary sequencing of »three and four«. It thus joins other cases of the use of this pattern in presenting the period of the Judges,³⁹ as well as in the structure of I Sam 12,7–18.⁴⁰ Moreover, the list of three oppressors is doing double-duty as it is also the »three« component in another 3/4 structure: the three oppressors beaten during the period of Judges, versus Nachash the Ammonite (v. 12), the fourth and current oppressor, who triggered the Israelites’ demand for a king.⁴¹ The previous
The first to identify this pattern in biblical literature was Bishop R. Lowth (R. Lowth
De sacra poesi Hebraeorum Praelectiones Academicae, 1753. English translation: J. Gregory, Sacred Poetry of the Hebrews, 1787; repr. 1969). For extensive surveys see Y. Zakovitch, »For Three … and for Four«: The Pattern of the Numerical Sequence Three – Four in the Bible, 2 vols., 1979, (Hebrew); S. M. Paul, Amos
Hermeneia, 1991, 27–30; S. Talmon, The Topped Triad in the Hebrew Bible and the Ascending Numerical Pattern, in: idem
, Literary Motifs and Patterns in the Hebrew Bible: Collected Studies, 2013, 77–123.
See the many examples adduced by Talmon, Topped Triad, 87–118. See also pp. 77–79 for the claim of special high frequency of the 3/4 pattern in the Hebrew Bible narrative.
See the second reference in the previous note and see also Zakovitch, For Three, 6–7.
Talmon, Topped Triad, 88.
The same God who previously delivered the Israelites into the hands of the oppressors (v. 9). Both oppressors and saviors are tools in YHWH’s hands.
Especially in the deuteronomistic cycle of sin, punishment, repentance and delivery (see Zakovitch, For Three, 221–225).
Campbell, 1 Samuel, 124–125.
I thank Dr. Ronnie Goldstein for suggesting this complementing example of 3/4 pattern in these verses. It seems to me that this second case contains a variation on the use of the 3/4 pat-
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Shira J. Golani
oppressions were ended and the oppressors overcome when the People of Israel cried out to YHWH and repented, and he sent forth non-royal saviors – as shown by the use of the 3/4 pattern in vv. 9–11. It is this method of divine help that should be the appropriate course against Nachash as well.⁴²The »Three and Four« pattern does not serve alone in this function. The message of the saviors vanquishing the oppressors is also emphasized by mention-ing the oppressors before their savior opponents. The issue of internal sequence is double-fold, as the order of two groups is combined in the general sequence of the savior narratives. In I Sam 12,9.11 the author of I Sam 12 brings forth an overview of the era of saviors in an elaborate structure of two parts. Using sequencing within the literary pattern of »three and four«, he presents a comprehensive description of oppressors in contrast to the saviors who vanquished them.In conclusion, we see that the author of Samuel’s speech of I Sam 12 that was placed at the pivotal point of the beginning of the monarchy in Israel, char-acterized the previous just-ended Judges era by listing acts of salvations. These acts were skillfully presented in an elaborate structure, using two complemen-tary lists of oppressors and of saviors. Utilizing a selection of literary patterns and tools, common in Biblical literature, the combination of these two lists forms a single roster of the savior traditions, possibly of an earlier composition dedi-cated to saviors (the »Book of Saviors«), now integrated into the canonical book of Judges.
THE FOUR VOYAGES OF VESPUCCI
In 1508, the position of chief of navigation of Spain (piloto mayor de Indias) was created for Vespucci, with the responsibility of planning navigation for voyages to the Indies.
Vespucci's first encounter with Native Americans in Honduras, 1497 (De Bry's illustration, c.1592)
Two letters attributed to Vespucci were published during his lifetime. Mundus Novus (New World) was a Latin translation of a lost Italian letter sent from Lisbon to Lorenzo di Pierfrancesco de' Medici. It describes a voyage to South America in 1501–1502. Mundus Novus was published in late 1502 or early 1503 and soon reprinted and distributed in numerous European countries. Lettera di Amerigo Vespucci delle isole nuovamente trovate in quattro suoi viaggi (Letter of Amerigo Vespucci concerning the isles newly discovered on his four voyages), known as Lettera al Soderini or just Lettera, was a letter in Italian addressed to Piero Soderini. Printed in 1504 or 1505, it claimed to be an account of four voyages to the Americas made by Vespucci between 1497 and 1504. A Latin translation was published by the German Martin Waldseemüller in 1507 in Cosmographiae Introductio, a book on cosmography and geography, as Quattuor Americi Vespucij navigationes (Four Voyages of Amerigo Vespucci).
On March 22, 1508, King Ferdinand made Vespucci chief navigator of Spain at a huge salary and commissioned him to found a school of navigation, in order to standardize and modernize navigation techniques used by Iberian sea captains then exploring the world. Vespucci even developed a rudimentary, but fairly accurate method of determining longitude (which only more accurate chronometers would later improve upon).
The first known depiction of cannibalism in the New World. Engraving by Johann Froschauer for an edition of Amerigo Vespucci's Mundus Novus, published in Augsburg in 1505
In the 18th century, three unpublished familiar letters from Vespucci to Lorenzo de' Medici were rediscovered. One describes a voyage made in 1499–1500 which corresponds with the second of the "four voyages". Another was written from Cape Verde in 1501 in the early part of the third of the four voyages, before crossing the Atlantic. The third letter was sent from Lisbon after the completion of that voyage.
Some have suggested that Vespucci, in the two letters published in his lifetime, was exaggerating his role and constructed deliberate fabrications. However, many scholars now believe that the two letters were not written by him but were fabrications by others based in part on genuine letters by Vespucci. It was the publication and widespread circulation of the letters that might have led Waldseemüller to name the new continent America on his world map of 1507 in Lorraine. Vespucci used a Latinised form of his name, Americus Vespucius, in his Latin writings, which Waldseemüller used as a base for the new name, taking the feminine form America, according to the prevalent view. The book accompanying the map stated: "I do not see what right any one would have to object to calling this part, after Americus who discovered it and who is a man of intelligence, Amerige, that is, the Land of Americus, or America: since both Europa and Asia got their names from women". It is possible that Vespucci was not aware that Waldseemüller had named the continent after him.
The two disputed letters claim that Vespucci made four voyages to America, while at most two can be verified from other sources. At the moment, there is a dispute between historians on when Vespucci visited the mainland the first time. Some historians like Germán Arciniegas and Gabriel Camargo Pérez think that his first voyage was made in June 1497 with the Spanish Pilot Juan de la Cosa.
Vespucci's real historical importance may well rest more in his letters, whether he wrote them all or not, than in his discoveries. From these letters, the European public learned about the newly discovered continents of the Americas for the first time; its existence became generally known throughout Europe within a few years of the letters' publication.
CONSIDERED AMERICA THE TRANSCENDENT FOURTH CONTINENT
a Europeans had long conceptualized the Afro-Eurasian landmass as divided into the same three continents known today: Europe, Asia, and Africa. Once cosmographers realized that the New World was not connected to the Old (but before its true geography was fully mapped), they considered the Americas to be a single, fourth continent.
VASCO DE GAMA FOUR SHIPS
On 8 July 1497 Vasco da Gama led a fleet of four ships with a crew of 170 men from Lisbon. The distance traveled in the journey around Africa to India and back was greater than around the equator. The navigators included Portugal's most experienced, Pero de Alenquer, Pedro Escobar, João de Coimbra, and Afonso Gonçalves. It is not known for certain how many people were in each ship's crew but approximately 55 returned, and two ships were lost. Two of the vessels were as naus or newly built for the voyage, possibly a caravel and a supply boat.
The four ships were:
São Gabriel, commanded by Vasco da Gama; a carrack of 178 tons, length 27 m, width 8.5 m, draft 2.3 m, sails of 372 m²
São Rafael, commanded by his brother Paulo da Gama; similar dimensions to the São Gabriel
The caravel Berrio, slightly smaller than the former two (later renamed São Miguel), commanded by Nicolau Coelho
A storage ship of unknown name, commanded by Gonçalo Nunes, later lost near the Bay of São Brás, along the east coast of Africa
FOUR AXLE THE FOURTH IS DIFFERENT/TRANSCENDENT
A multi-axle bus is a bus or coach that has more than the conventional two axles (known as a twin-axle bus), usually three (known as a tri-axle bus), or more rarely, four (known as a quad-axle bus). Extra axles are usually added for legal weight restriction reasons, or to accommodate different vehicle designs such as articulation, or rarely, to implement trailer buses.
16 SQUARES QUADRANT MODEL
A V16 engine is a V engine with 16 cylinders. Engines of this number of cylinders are uncommon in automotive use.
A V16 engine is perfectly balanced regardless of the V angle without requiring contra-rotating balancing shafts which are necessary to balance engines with odd numbers of cylinders in-line or those equipped with counterweighted crankshafts like the 90° V8. In addition V angles of 45° and 135° give an impulse every 45°, so are optimal solutions, for even-firing and non-split bearing crankshaft journals.
V16 engines are rarely used in automobiles because V8s or V12s of the same displacement typically produce just as much power, and are much less expensive to manufacture and maintain. The few V16s that have been produced were used in high-end luxury and high-performance automobiles due to their smoothness (low vibration).
Today, the most common applications for V16 engines are railroad locomotives, marine craft, and stationary power generators.
The four field approach in anthropology sees the discipline as composed of the four subfields of Archaeology, Linguistics, Physical Anthropology and Cultural anthropology. The approach is conventionally understood as having been developed by Franz Boas who developed the discipline of anthropology in the United States. A 2013 re-assessment of the evidence has indicated that the idea of four-field anthropology has a more complex 19th-century history in Europe and North America.
For Boas, the four field approach was motivated by his holistic approach to the study of human behavior, which included integrated analytical attention to culture history, material culture, anatomy and population history, customs and social organization, folklore, grammar and language use. For most of the 20th century, U.S. Anthropology departments housed anthropologists specializing in all of the four branches, but with the increasing professionalization and specialization, elements such as linguistics and archaeology came to be regarded largely as separate disciplines. Today, physical anthropologists often collaborate more closely with biology and medicine than with cultural anthropology.
TRANSCENDENT FOURTH RAIL
A railway electrification system supplies electric power to railway trains and trams without an on-board prime mover or local fuel supply. Electric railways use electric locomotives to haul passengers or freight in separate cars or electric multiple units, passenger cars with their own motors. Electricity is typically generated in large and relatively efficient generating stations, transmitted to the railway network and distributed to the trains. Some electric railways have their own dedicated generating stations and transmission lines but most purchase power from an electric utility. The railway usually provides its own distribution lines, switches and transformers.
Power is supplied to moving trains with a (nearly) continuous conductor running along the track that usually takes one of two forms: overhead line, suspended from poles or towers along the track or from structure or tunnel ceilings; third rail mounted at track level and contacted by a sliding "pickup shoe". Both overhead wire and third-rail systems usually use the running rails as the return conductor but some systems use a separate fourth rail for this purpose.
The London Underground in England is one of the few networks that uses a four-rail system. The additional rail carries the electrical return that, on third rail and overhead networks, is provided by the running rails. On the London Underground, a top-contact third rail is beside the track, energized at +420 V DC, and a top-contact fourth rail is located centrally between the running rails at −210 V DC, which combine to provide a traction voltage of 630 V DC. The same system was used for Milan's earliest underground line, Milan Metro's line 1, whose more recent lines use an overhead catenary or a third rail.
The key advantage of the four-rail system is that neither running rail carries any current. This scheme was introduced because of the problems of return currents, intended to be carried by the earthed (grounded) running rail, flowing through the iron tunnel linings instead. This can cause electrolytic damage and even arcing if the tunnel segments are not electrically bonded together. The problem was exacerbated because the return current also had a tendency to flow through nearby iron pipes forming the water and gas mains. Some of these, particularly Victorian mains that predated London's underground railways, were not constructed to carry currents and had no adequate electrical bonding between pipe segments. The four-rail system solves the problem. Although the supply has an artificially created earth point, this connection is derived by using resistors which ensures that stray earth currents are kept to manageable levels. Power-only rails can be mounted on strongly insulating ceramic chairs to minimise current leak, but this is not possible for running rails which have to be seated on stronger metal chairs to carry the weight of trains. However, elastomeric rubber pads placed between the rails and chairs can now solve part of the problem by insulating the running rails from the current return should there be a leakage through the running rails.
On tracks that London Underground share with National Rail third-rail stock (the Bakerloo and District lines both have such sections), the centre rail is connected to the running rails, allowing both types of train to operate, at a compromise voltage of 660 V. Underground trains pass from one section to the other at speed; lineside electrical connections and resistances separate the two types of supply. These routes were originally solely electrified on the four-rail system by the LNWR before National Rail trains were rewired to their standard three-rail system to simplify rolling stock use.
A few lines of the Paris Métro in France operate on a four-rail power scheme. The trains move on rubber tyres which roll on a pair of narrow roll ways made of steel and, in some places, of concrete. Since the tyres do not conduct the return current, the two guide bars provided outside the running 'roll ways' become, in a sense, a third and fourth rail which each provide 750 V DC, so at least electrically it is a four-rail scheme. Each wheel set of a powered truck carries one traction motor. A side sliding (side running) contact shoe picks up the current from the vertical face of each guide bar. The return of each traction motor, as well as each wagon, is effected by one contact shoe each that slide on top of each one of the running rails. This and all other rubber-tyred metros that have a 1,435 mm (4 ft 8 1⁄2 in) standard gauge track between the roll ways operate in the same manner.
ALMOST ALL CONNECTIONS FOUR WIRE CIRCUITS
In telecommunication, a four-wire circuit is a two-way circuit using two paths so arranged that the respective signals are transmitted in one direction only by one path and in the other direction by the other path. Late in the 20th century, almost all connections between telephone exchanges were four-wire circuits, while conventional phone lines into residences and businesses were two-wire circuits.
The four-wire circuit gets its name from the fact that, historically, a balanced pair of conductors were used in each of two directions for full-duplex operation. The name may still be applied to, for example, optical fibers, even though only one fiber is required for transmission in each direction. A system can separate the frequency directions by frequency duplex and realize the benefits of a four-wire circuit even while the same wire pair is used in both directions.
Alexander Ralston's "Plat of the Town of Indianapolis," today known as the Mile Square.
Indianapolis is a planned city. On January 11, 1820, the Indiana General Assembly authorized a committee to select a site in central Indiana for the new state capital, appointing Alexander Ralston and Elias Pym Fordham to survey and design a town plan for Indianapolis. Ralston had been a surveyor for the French architect Pierre L'Enfant, assisting him with the plan for Washington, D.C. Ralston's original plan for Indianapolis called for a town of 1 square mile (2.6 km2), near the confluence of the White River and Fall Creek. The plan, known as the Mile Square, is bounded by East, West, North, and South streets, centered on a traffic circle, called Monument Circle (originally Governor's Circle), from which Indianapolis' "Circle City" nickname originated. Four diagonal streets radiated a block from Monument Circle: Massachusetts, Virginia, Kentucky, and Indiana avenues. The city's address numbering system begins at the intersection of Washington and Meridian streets. Before its submersion into a sanitary tunnel, Pogue's Run was included into the plan, disrupting the rectilinear street grid to the southeast.
DURERS 16 SQUARE MAGIC SQUARE IN MELANCHOLIA I- NUMBER 34 maybe 3/4 dynamic
Dürer's magic square is a magic square with magic constant 34 used in an engraving entitled Melancholia I by Albrecht Dürer (The British Museum, Burton 1989, Gellert et al. 1989). The engraving shows a disorganized jumble of scientific equipment lying unused while an intellectual sits absorbed in thought. Dürer's magic square is located in the upper right-hand corner of the engraving. The numbers 15 and 14 appear in the middle of the bottom row, indicating the date of the engraving, 1514.
Dürer's magic square has the additional property that the sums in any of the four quadrants, as well as the sum of the middle four numbers, are all 34 (Hunter and Madachy 1975, p. 24). It is thus a gnomon magic square. In addition, any pair of numbers symmetrically placed about the center of the square sums to 17, a property making the square even more magical.
I POSTED A LECTURE A LONG TIME AGO ON THIS WHERE THE GUY TALKS ABOUT HOW JAIN TEMPLES WERE ORGANIZED AROUND THE LOSHU SQUARE AND SO ON BUT I CANT FIND THE LECTURE NOW. BUT THE PRIME NUMBERS IN THE LOSHU SQUARE FORM A CROSS AND THAT IS SEEN AS VERY SIGNIFICANT. THE LOSHU SQUARE BY LEGEND IS SAID TO HAVE BEEN DISCOVERED BY A TURTLE SHELL WHICH WAS THREE BY THREE
In the Lo Shu Square, number 5 is in the center, with the odd and even numbers alternating on its periphery. The four even numbers - 2,4,6,8 - are at the four corners of the square, with the five odd ones - 1,3,5,7,9 - forming a cross in the centre (look at the Lo Shu Square image above).
You can see how the feng shui bagua evolved from the Lo Shu Square, especially if you know that in China South is placed at the top of the maps. Number 9 is the number for the South bagua area (on top) and 1 is the number for the North bagua sector (bottom of the square).
The odd numbers are considered of Yang quality, and the even numbers carry Yin energy. In the Lo Shu Square Yin and Yang numbers alternate around its center number 5.
THE LOSHU SQUARE IS SEEN AS EXTREMELY SACRED IN ASIAN RELIGIONS. AT THE CENTER OF THE SQUARE IS THE NUMBER FIVE WHICH IS THE QUINCUNX CROSS- AND THE PRIME NUMBERS IN THE SQUARE THEMSELVES FORM A CROSS WHICH ASIAN RELIGIONS SEE AS SIGNIFICANT
Chinese legends concerning the pre-historic Emperor Yu (夏禹) tell of the Lo Shu, often in connection with the Yellow River Map (Hetu) and 8 trigrams. In ancient China there was a huge deluge: the people offered sacrifices to the god of one of the flooding rivers, the Luo river (洛河), to try to calm his anger. A magical turtle emerged from the water with the curious and decidedly unnatural (for a turtle shell) Lo Shu pattern on its shell: circular dots giving unary (base 1) representations of the integers one through nine are arranged in a three-by-three grid.
Early records are ambiguous, referring to a "river map", and date to 650 BCE, but clearly refer to a magic square by 80 CE, and explicitly give one since 570 CE.
The Lo Shu square on the back of a small turtle (in the center), surrounded by the signs of the Chinese zodiac and the Eight trigrams, all carried by a large turtle (which, presumably, stands for the Dragon horse that had earlier revealed the trigrams to Fu Xi). This example drawn by an anonymous Tibetan artist.
The odd and even numbers alternate in the periphery of the Lo Shu pattern; the 4 even numbers are at the four corners, and the 5 odd numbers (outnumbering the even numbers by one) form a cross in the center of the square. The sums in each of the 3 rows, in each of the 3 columns, and in both diagonals, are all 15 (the number of days in each of the 24 cycles of the Chinese solar year). Since 5 is in the center cell, the sum of any two other cells that are directly through the 5 from each other is 10 (e.g., opposite corners add up to 10, the number of the Ho Tu (河圖)).
The Lo Shu is sometimes connected numerologically with the Ba Gua 八卦 "8 trigrams", which can be arranged in the 8 outer cells, reminiscent of circular trigram diagrams. Because north is placed at the bottom of maps in China, the 3x3 magic square having number 1 at the bottom and 9 at the top is used in preference to the other rotations/reflections. As seen in the "Later Heaven" arrangement, 1 and 9 correspond with ☵ Kǎn 水 "Water" and ☲ Lí 火 "Fire" respectively. In the "Early Heaven" arrangement, they would correspond with ☷ Kūn 地 "Earth" and ☰ Qián 天 "Heaven" respectively. Like the Ho Tu(河圖), the Lo Shu square, in conjunction with the 8 trigrams, is sometimes used as a mandalic representation important in Feng Shui (風水) geomancy.
The Lo Shu square on the back of a small turtle (in the center), surrounded by the signs of the Chinese zodiac and the Eight trigrams, all carried by a large turtle (which, presumably, stands for the Dragon horse that had earlier revealed the trigrams to Fu Xi). This example drawn by an anonymous Tibetan artist.
I POSTED ALL OF THIS STUFF BEFORE
IN THE SHEMA OF ISRAEL HEAR O ISRAEL THE TETRAGRAMMATON OUR GOD THE TETRAGRAMMATON IS ONE THE DALET IS WRITTEN BIGGER BECAUSE THE DALET REPRESENTS THE NUMBER FOUR
When written in Torah; Tefillin and Mezuzah scrolls, the last letter of the first word of Shema –“ayin”, and the last letter of the last word (echad) –“daled”,1 are larger than the other letters
The large Daled has a numerical value of four (in Gematriah), representing the union of G-d’s kingship in the heaven; earth and all four directions. Alternatively, the daled is larger so it won’t be confused with the letter reish which is similar in shape and if mistaken, would change the reading of the Shema into a statement of heresy (“Hashem acher”-“a different god”) in place of the fundamental declaration of belief ("Hashem echad"-“G-d is one”).2
THE DALED SHOULD BE FOUR TIMES THE SIZE OF THE REGULAR DALED- I MENTIONED HOW RABBIS SEE IT AS FOUR TO THE FOURTH POWER 256
1. The daled of the word Echad should be four times the size of a regular daled (see Magen Avraham – Orach Chayim 32:1)
SAMURAI AND CROSSES- I DESCRIBED THE SAMURAI WERE A PART OF THE FOUR CLASS STRUCTURE OF JAPAN
Historians conducted painstaking tests to estimate when the weapons were created based on their designs, materials, and techniques used to produce them. They show crosses, crucifixes and religious symbols carefully concealed in the intricate designs (pictured)
Yuhiko Nakanishi, chairman of nonprofit group Nihon Token Hozon Kai - a Japanese sword preservation association - said 48 sword hilts were identified as belonging to Christians.
The weapons with hidden Christian symbols were dated to the Sengoku (Warring States) period (1467-1568) and the 1600s after warlord Toyotomi Hideyoshi rolled out his anti-Christian policies.
They show crosses, crucifixes and religious symbols carefully concealed in the intricate designs.
Nakanishi added: 'A characteristic of sword guards made after anti-Christian measures were taken is that Christians carefully hid crosses in their designs.
'We concluded the designs show the faith of hidden Christians.'
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I POSTED ALL THIS STUFF BEFORE- THE CROSS IN PROMETHEUS
Shaw is the only religious believer in the crew and openly displays her religious belief with a necklace of a Christian cross. Lindelof said that with her scientific knowledge, her beliefs felt outdated in 2093. Shaw is excited when she learns that she was created by the Engineers and not a supernatural deity, but rather than cause her to lose her faith, it reinforces it. Lindelof said that asking questions and searching for meaning is the point of being alive, and so the audience is left to question whether Shaw was protected by God because of her faith. Scott wanted the film to end with Shaw's declaration that she is still searching for definitive answers. In addition to the religious themes, Lindelof said that Prometheus is pro-science and explores whether scientific knowledge and faith in God can co-exist.
Further religious allusions are implied by the Engineers' decision to punish humanity with destruction 2,000 years before the events of the film. Scott suggested that an Engineer was sent to Earth to stop humanity's increasing aggression, but was crucified, implying it was Jesus Christ. However, Scott felt that an explicit connection in the film would be "a little too on the nose."
CRUCIFORM IN PROMETHEUS
In Prometheus we see the crew enter a room which appears to be a chapel, in this room there are a number of what look like pewter vases placed with precision in front of a large, stone, ‘engineer’ head. When exposed to the light or heat generated by the crew entering the room, the vases start to leak a black substance which intrigues David, he removes one of the vases and sneaks it back to the ship. In this scene we also see a mural on the wall which clearly depicts a likeness of an alien, the mural in itself is quite intriguing: the alien is posed in the cruciform position, which obviously echoes Christ’s crucifixion and confirms that this room fulfilled the role of a chapel or prayer room for the engineers.
ADDED TRANSCENDENT FOURTH JUDGE- MAKING FOUR XS FOUR QUADRANT MODEL
The X Factor is a British reality television music competition to find new singing talent. The contestants are aspiring singers drawn from public auditions. Created by Simon Cowell, the show began in 2004 and has since aired annually from August/September until December. The show is produced by FremantleMedia's Thames (previously Talkback Thames) and Cowell's production company Syco Entertainment . It is broadcast on the ITV network in the UK and simulcast on TV3 in Ireland. "X Factor" refers to the undefinable "something" that makes for star quality. The series consists of auditions, bootcamp, judges' houses, several weeks of live shows, semi-finals and the final. The series had a spin-off behind-the-scenes show called The Xtra Factor, which aired directly after the main show on ITV2. This lasted from series 1 until series 13 when it was cancelled by ITV in January 2017. It is replaced by an online show.
For series 1–3 the competition was split into three categories: 16–24s (solo acts aged 16–24), Over 25s (solo acts aged 25 and over) and Groups (including duos). In series 4–5, the minimum age was lowered to 14, creating a 14–24 age group. With the addition of a fourth judge in series 4, this was split into separate male and female sections, making four categories in all: "Boys" (14–24 males), "Girls" (14–24 females), Over 25s and Groups.
JUDAS PRIEST CROSS LOGO
By the time Priest’s second album ‘Sad Wings of Destiny’ was released, the graphics and the music were finally in ‘perfect synchronicity’. To underline the dramatic ‘fallen angel’ theme of the watercolour painting by Patrick Woodroffe, John Pasche updated the old gothic style logo that had appeared with some variations in concert adverts since the band’s British tour back in 1972. This logo soon proved its strength and made its way also onto the cover of the next release ‘Sin After Sin’, and it still keeps on appearing in various Gull Records re-releases. Woodroffe’s painting also introduced the famous ‘Judas Priest cross’, which soon became a strong part of Priest’s visual image. It even became a part of the Judas Priest logo years later, during the re-union tour in summer 2004.
PETE ALANDER: Sad Wings of Destiny has everything that a good album cover needs: it has a picture which reflects emotions from good to bad. It’s angelic and demonic in every aspect. You can imagine the artwork hanging in an art museum somewhere and people around it are amazed about what they see. It almost speaks to you, especially the LP-version brings the art to life. When you see how the logo and the album title are placed you can’t argue what an excellent piece of work it is. It also has the “Devils Tuning Fork” in it, the symbol that has been Priest’s trademark for many years. These little symbols are just what every band needs, something to help the fans to remember the band visually, something to draw on the paper when there´s nothing else to do. It is extremely important for a band to be remembered also visually. It´s a branding technique which almost never fails.
As the previous three Judas Priest logos (with the exception of ‘Priest…live!’, of course) had been based on Roslav Szaybo’s original idea, the era between ‘Jugulator’ and ‘Live in London’, from 1997 up to 2003, got a totally different logo decorating the sleeves of Judas Priest releases. Mark Wilkinson was still the man behind the artwork, and although there are some elements left from the old Szaybo logo, this new one was different enough to underline the line-up changes Priest had recently gone through. In fact, this ‘Ripper era logo’ has two variations. ‘Jugulator’ and ‘Live Meltdown’ had the words ‘Judas’ and ‘Priest’ placed vertically, with a design that could be seen as a part of the famous ‘Judas Priest cross’ or ‘Devil’s Tuning Fork’ placed in between. The latter two albums, ‘Demolition’ and ‘Live in London’ were without the cross and the words were now levelled horizontally.
PETE ALANDER: Sometimes I’ve wondered what I would do if I had to design the Priest logo all over again with the respect of the visual legacy Priest has. I’ve come up with ideas similar to with Demolition has. I like it with its harmonic and pleasing feeling. The logotype on ‘Jugulator’ is also cool-looking. It has this diagonal thing along with brand new Priest fork. The good old ‘Devil’s Tuning Fork’ is a brand itself, and very unique, but there’s nothing wrong with the fork on these two albums. The ‘axe’ look in it gives a sharp feeling of a brutal metal band. The word ‘brutal’ also reflects well f these two albums, especially Jug.
Brand-wise, its a sticky situation for a band to come up with a new singer, a new kind of music and still try to keep the legacy alive and well. It is also challenging concerning the visual image of a band, and I believe Priest a did pretty good job with their logo changes.
Along with the reunion of the band in summer 2003 came the classic Roslav Szaybo’s design from 1978 back to service, as it was used on the cover of the retrospective ‘Electric Eye’ dvd. The latest update of the Judas Priest logo got its world premiere on the 2nd of June 2004 in Hannover, as it appeared on the band’s stage backdrop, during ‘United’, at the end of the show. Here the ‘Judas Priest cross’, which during the past years had also become a very important part of the band’s visual image, replaces the letter t from the classic logo. So here they are now, also united, the two perhaps the most well known visual elements ever appeared on the covers of the Judas Priest albums.
PETE ALANDER: It’s really an ‘obvious’ choice to create a logo with the ‘Devil’s Tuning Fork’ sticking out from it. It fits well and stands out. It might make the text look a bit too ‘tight’, a more open lettering would help a lot, but joining these two classic elements enhances the logotype a lot. I’m really waiting for the Nostradamus album as well as the logo evolvement of the future albums of the greatest metal band ever.
David Howells of Gull records commissioned Patrick Woodroffe to provide the cover art, a piece called Fallen Angeldepicting a struggling, grounded angel surrounded by flames and wearing a devil's three-pronged cross, which was the band's symbol. Halford posed Christ-like on the reverse, and Gothic fonts adorned the front and back.
PUBLIC ENEMY CROSSHAIRS LOGO
Since the frames feature both Public Enemy's name and their logo – a man in the crosshairs of a gun sight that the group constructed in 1986 – Chuck D explained their significance to Rolling Stone. "The crosshairs logo symbolized the black man in America," he says. "A lot of people thought it was a state trooper because of the hat, but the hat is one of the ones that Run-DMC wore. The B-Boy stance and the silhouette was more like the black man on the target."
I READ THIS BOOK IN LITERATURE CLASS IN HIGH SCHOOL. LIKE I SAID ALL THE BOOKS WE HAD TO READ WERE LINKED TO THE QUADRANT MODEL BUT THE CHRIST FIGURES NAME IS CROSS
Jimmy Cross can be viewed as a Christ figure. In times of inexplicable atrocity, certain individuals assume the position of a group’s or their own savior. Such men suffer so that others don’t have to bear the brunt of the guilt and confusion. Cross is linked to Christ not only on a superficial level—they share initials and are both connected to the idea of the cross—but also in the nature of his role. Like Christ, who suffers for his fellow men, Cross suffers for the sake of the entire platoon. In “The Things They Carried,” Cross bears the grief of Lavender’s death for the members of his troop, such as Kiowa, who are too dumbfounded to mourn. In the same story, he makes a personal sacrifice, burning the letters from Martha so that her presence will no longer distract him. In each case, Cross makes a Christ-like sacrifice so that his fellow men—Norman Bowker and Kiowa, in this case—can carry on without being crippled by grief and guilt.
GATSBY IN THE GREAT GATSBY- ONE OF THE FOUR NOVELS BY FITZGERALD- HIS ARMS ARE OUTSTRETCHED LIKE CRUCIFIXION CHRIST FIGURE
In the novel, we first discover Gatsby with both arms outstretched above the water (his barrier to Daisy), in what Nick calls “a curious way” that conjures images of crucifixion. He also dresses in white (symbolizing purity) for his reunion with Daisy. If that’s not enough to convince you, Nick flat-out calls it by making a direct comparison in the text, stating that, in his own context, Gatsby is about his “Father’s business” like a “Son of God.”
THE CRUCIFIXION IN ONE FLEW OVER THE CUCKOOS NEST
The first blatant reference to Jesus Christ occurs when Chief introduces the Chronic patient Ellis. The recipient of many electroshock treatments, Ellis adopts a pose of crucifixion by spreading his arms against the wall, reflecting the shape of the electroshock table and directly alluding to Christ nailed to the cross. Chief reemphasizes this posture when he relates Harding's explanation of electroshock to McMurphy: "You are strapped to a table, shaped, ironically, like a cross, with a crown of electric sparks in place of thorns."
The number of men accompanying McMurphy on the fishing excursion is twelve, just like the number of Christ's disciples. The bravado displayed by the patients following the gas station incident is revealed by Chief to be a bluff, much like the actions of Christ's disciples prior to his crucifixion. During the actual fishing, however, the patients embrace their identities while McMurphy retreats into the background. This sequence serves as a Pentecost of sorts as the patients finally embrace the spirit of McMurphy much like the Apostles were filled with the Holy Spirit following Christ's crucifixion. When the boat is lacking enough life jackets for everyone, McMurphy takes one for himself to allow the patients most in need of asserting their own individuality to go without.
I HAD TO READ SCARLET LETTER IN HIGH SCHOOL- THERE IS A CRUCIFIXION ALLUSION OF HESTER PRYNNE. ALSO THE A ON HER CHEST IS THE ALEPH/SWASTIKA--- BUT HAWTHORNE IS FAMOUS FOR HIS FOUR MAJOR ROMANCES
Hawthorne was predominantly a short story writer in his early career. Upon publishing Twice-Told Tales, however, he noted, "I do not think much of them," and he expected little response from the public. His four major romances were written between 1850 and 1860: The Scarlet Letter (1850), The House of the Seven Gables (1851), The Blithedale Romance (1852) and The Marble Faun (1860).
THE BLITHEDALE ROMANCE, ONE OF HAWTHORNES FOUR MAIN ROMANCES, HAS FOUR MAIN CHARACTERS
The Blithedale Romance (1852) is Nathaniel Hawthorne's third major romance.
The four main characters are Coverdale, Hollingsworth, Priscilla, and Zenobia.
HAWTHORNES FOURTH MAIN ROMANCE HAS FOUR MAIN CHARACTERS AS WELL. I POSTED ALL OF THIS A LONG TIME AGO
The Marble Faun: Or, The Romance of Monte Beni, also known by the British title Transformation, was the last of the four major romances by Nathaniel Hawthorne, and was published in 1860.
This romance focuses on four main characters: Miriam, Hilda, Kenyon, and Donatello.
X ON DMX'S ALBUM COVER AND THEN THERE WAS X
...And Then There Was X is the third studio album by American rapper DMX. The album was released on December 21, 1999, by Ruff Ryders Entertainment and Def Jam Recordings. In 2000, it was certified 4× Platinum and then later 5× Platinum. The album was nominated for Best Rap Album at the 2001 Grammys.
X/ QUADRANT GON GIVE IT TO YA
DMX - X Gon' Give It To Ya
I POSTED ALL THIS STUFF A LONG TIME AGO
"4, 3, 2, 1" is a single by LL Cool J, Method Man & Redman, Canibus and DMX from LL Cool J's seventh album Phenomenon.
Assassin's Creed Templars Volume 2: Cross of War
Assassin's Creed Templars Volume 2: Cross of War is a graphic novel which collects the second story arc of Titan Comics' Assassin's Creed: Templars comic series. The book was released on April 19, 2017.
In the dungeons of Tripoli, a man will have his fortunes changed forever as he becomes an agent of honor for the legendary Templar Order! The introduction of the second character ever to be officially called the Black Cross, defender of the Templar Order ideals!
THE EXORCIST AND THE BLOODY CRUCIFIX
In A Decade Under the Influence (2003), William Friedkin talks about the original poster that the studio created for the film. It was a drawing of Regan's hand holding the bloody crucifix that she masturbates with. The original tag line was "God help this girl". Friedkin rejected the poster, stating that the word "God" should not be used in a movie tag line.
SWASTIKA QUADRANT IN AMERICAN HISTORY X- THE X IN AMERICAN HISTORY X IS THE QUADRANT
Frank’s tattoo repertoire includes a swastika on his neck, a ten-inch portrait of Joseph Goebbels on his chest, S-K-I-N-H-E-A-D across his knuckles. When he gets busted after assaulting a gay man one of Frank’s comrades taunts the arresting officer, “I’m Charles Manson, and I’ve got the swastikas to prove it… on my dick. Come on, copper, suck my swastika!”
THE SWASTIKA IN AMERICAN HISTORY X
As I was watching American History X, after the flashback scene where Derek's father is shown talking about Dr. Sweeney's hidden agenda (what I took as kind of the start of Derek's prejudices') it cuts to the scene where Derek takes a shower. After the shower, Derek gets out and looks at his swastika tattoo. however, since this is in the mirror, the tattoo is shown backwards, which in the neo-nazi subculture, a counter-clockwise swastika represents a follower, rather than a leader. I thought it was interesting that not only was this shown after the conversation with his father, but (if I'm correct) this is also the last time that the swastika tattoo was shown in the film.
THE SWASTIKA AND AMERICAN HISTORY X
The Atoner: Derek at first was a violent and racist Jerkass, but he tries to save his little brother from the same fate once he gets out of prison. However, Derek still bears the consequences of his legacy, as illustrated by his swastika tatoo and ultimately his brother's death.
Embarrassing Tattoo: Derek's no longer proud of the swastika on his chest.
FIGHT CLUB AND THE CRUCIFIXION
Tyler says I'm nowhere near hitting bottom, yet. And if I don't fall all the way, I can't be saved. Jesus did it with his crucifixion thing. I shouldn't just abandon money and property and knowledge. This isn't a weekend retreat. I should run from self-improvement, and I should be running toward disaster. I can't just play it safe anymore.
THE SWASTIKA IN INGLORIOUS BASTERDS
In Inglourious BasterdsEdit
The swastika is the symbol of Nazism in the film. Aldo Raine was known to carve a swastika on the forehead of the German soldiers that he spare, so they could "spot a Nazi, just like that". Zoller was carving a swastika with his knife on the floor of the bell tower in Nation's Pride. A straight swastika made by bullets also appears on the tower.
The swastika that Aldo carves on the forehead of the German soldiers is drawn wrong, as the type adopted by the Nazi Party is rotated at 45°. On the other hand, the swastika that Zoller carves on the wooden floor is the correct one.
The swastika "accidentally" made by the American bullet fire on the bell tower outer wall is also the same type made by Aldo. This could be considered a shout-out to the fact that the Americans cannot draw the Nazi swastika correctly, and only Germans can.
The swastika from the bell tower wall appears in one scene, but disappears in the next.
In the last scene where Aldo is carving a swastika in Landa's forehead, Aldo is carving the bottom of the Swastika to the left which is incorrect. In the next scene that mark is gone and he's correctly carving it to the right.
When the cinema is set on fire, the golden swastika above the movie screen is seen falling. Eli Roth claimed the swastika was not supposed to fall, as it was fastened with steel cables, but the steel softened and snapped.
THE CRUCIFIXION AND SHAWSHANK REDEMPTION- MY GRANDPA SAID THIS WAS HIS FAVORITE MOVIE
Andy Dufresne embodies several characteristics of a Jesus-like figure; there are several parallels to be drawn between Jesus himself and Andy. His storyline mirrors that of Jesus' in that he was punished for a crime in which he was relatively falsely accused and figuratively had his own "cross to bear."
Bible references were present throughout the film. The safe for all of the finances in the warden's office was hidden behind a Bible verse. Although the warden claimed to be a devout Christian, it is later revealed how he goes against many of Christianity's basic morals. Also, one of the most famous cinematography motifs in the movie is once Andy escapes from the prison, there is a scene where he stands with arms outstretched with the rain pouring down on him. This was specifically meant to look like Jesus on the cross. It is difficult not to see all of the similarities between the story of Jesus Christ and Andy Dufresne's character.
SHAWSHANK REDEMPTION CRUCIFIXION SCENE
The Shawshank Redemption:
When Andy is held over a building, he throws his arms out in a pretty obvious cross pose.
The famous Redemption in the Rain scene at the end. It even made it onto the poster/cover art.
The four corners offense, technically four corner stall, is an offensive strategy for stalling in basketball. Four players stand in the corners of the offensive half-court while the fifth dribbles the ball in the middle. Most of the time the point guard stays in the middle, but the middle player would periodically switch, temporarily, with one of the corner players. It was a strategy that was used in college basketball before the shot clock was instituted.
In basketball, a four-point play is the rare occasion when an offensive player shoots and makes a three-point field goal while simultaneously being fouled by a defensive player, resulting in a shooting foul and one free throw attempt, or a two-point field goal and is intentionally or flagrantly fouled on the shot and is awarded two free throws. If the player makes his/her free throws, they will have scored four points on a single possession. The short-lived American Basketball League first introduced the four-point play to the game of basketball, and it was later adopted by the American Basketball Association during its inaugural season. The National Basketball Association (NBA) introduced that rule in 1979; FIBA in 1984; the NCAA in 1986 (men only) and 1987 (women); middle and high schools in 1987; and the WNBA in 1997.
Sam Smith of the Chicago Bulls completed the first four-point play in NBA history on October 21, 1979, in a game against the Milwaukee Bucks. Dale Ellis was the first player in NBA history to complete two four-point plays in the same game when he did so in a win against the Sacramento Kings on January 26, 1988. On April 29, 2009, James Jones completed two four-point plays in a span of eleven seconds. As of March 6, 2017, Jamal Crawford is the league's career leader in regular-season four-point plays with 50, and 55 when including postseason play.