Yeah, um guys crocheting does not and has never employed the use of needles, you use a hook and only one, no clicking involved. Terrorism isn't a word likely to be used in to describe anything much less one man threatening a group of people with a gun Especially when both are big names in their own right.
I give this one three stars because the individual stories written by Ms Muller and Mr Pronzini are very good. The c Yeah, um guys crocheting does not and has never employed the use of needles, you use a hook and only one, no clicking involved. The collaboration at the beginning and the one at the end should be passed by.
Mediocre, melodramatic and neither written particularly well or interesting. Dec 22, Chuck Barksdale rated it liked it. A nice collection of mostly western stories from Marcia Muller and Bill Pronzini. Most of them were new to me although a few had shown up in prior collections, especially the ones by Bill Pronzini. Crucifixion River, a novella collaboration of Muller and Pronzini was also an interesting and enjoy A nice collection of mostly western stories from Marcia Muller and Bill Pronzini. Crucifixion River, a novella collaboration of Muller and Pronzini was also an interesting and enjoyable story.
Short story mysteries by one of my favorite mystery authors with her husband, a Western author. Perfect for North Shore reading. Feb 08, Johanne rated it liked it. It was OK. A mix of stories by Muller and Pronzini, good examples of the short story genre but no really stunning examples. Jo Doherty rated it really liked it Jun 25, Daniela rated it did not like it Dec 24, Herberta rated it it was ok May 04, Lou Ann rated it really liked it May 06, Billweber rated it really liked it Jan 10, Karl rated it really liked it Apr 01, Art rated it did not like it Jul 06, Michele Ryan rated it it was amazing Jan 11, Brittany Farrell rated it it was ok Feb 27, Michele Ryan rated it it was amazing Mar 21, Biisbsw rated it it was amazing Aug 15, Hank Ashby rated it did not like it Jan 06, Harvey rated it really liked it Oct 31, John Mcgee rated it it was ok May 25, Norma rated it it was amazing Jan 31, Deb rated it liked it Mar 18, Terry rated it it was ok Jun 22, Vierblij rated it it was ok Mar 25, Cyber rated it it was amazing Nov 20, Mary Dries rated it really liked it Oct 26, Melissa Crabtree rated it it was amazing Jan 02, John Gantz rated it really liked it Jul 10, There are no discussion topics on this book yet.
About Marcia Muller. Marcia Muller. A native of the Detroit area, Marcia Muller grew up in a house full of books and self-published three copies of her first novel at age twelve, a tale about her dog complete with primitive illustrations.
The "reviews" were generally positive. In the early s, having moved to California, Muller found herself unemployable and began experimenting with mystery novels. This perpendicular also skims the neck of the lute and then strikes the self- point2 or tilaka of the anamorphic skull see also figure 5. Figure 4: Left: the half-hidden crucifix in the left upper corner of The Ambassadors.
Right: the square ABCD that remains when a 25 mm strip containing the crucifix is taken away. The vertical median EF of the square is hallmarked by the plumbline that is part of an instrument on the upper shelf see also figures 9 and This median hits the midpoint of the hexagram and the self-point of the skull at point X see figure 5. This skull is the most conspicuous incongruity in the painting. As shown in figure 4, itis placed precisely underneath the plumbline.
Indeed, closer inspection shows that the skull is connected to yet another symbol, namely the hexagram on the floor behind. This hexagram is largely hidden behind the skull but Holbein has depicted just enough of it in order to permit reconstruction figure 5, middle.
The center of the hexagram happens to coincide with the self-point of the skull that is located on the vertical through 2 The 'self-point' 'Ich-Punkt' is located somewhat behind the center of the forehead. It is often used as a reference point in esoteric art. See for instance illustrations on p.
Clearly, the hexagram must have some meaning related to the skull. Figure 5: Above: the anamorphic skull and the hexagram. Largely hidden behind the skull, a hexagram can be seen. Just enough elements of it are shown to permit reconstruction of the hexagram itself green lines and its midpoint magenta lines, X. Below: the shape of the skull after elimination of the anamorphic deformation.
You can also subscribe without commenting. But Beam does this at the risk of creating historical fiction. Did you actually experience everything about which you wrote? Chase, April 20, , quoted in J. Additional reading: Mark —
Besides the crucifix and the skull, there is still another element of strangeness that relates to the set of astronomical instruments on the table between both ambassadors, and that was discovered by John North. We know that the painting is dated figure 2. We refer to North's book note 1; a must read for details. In , Good Friday was on April 11th. The multilayeredness of the hexagram In esoteric Christianity, the hexagram is a multilayered symbol referring to Christ and to the constitution of the Verbum Incarnatum.
Generally, the symbol is also called the 'Star of David'. Importantly, the operations of inversion and superposition directly reflect the mystery, virtually unknown in exoteric christianity, of the two Jesus children. In the New Testament, two different genealogies of Jesus are given. One genealogy is given in Matthew Here, king David and his son Solomon are mentioned as forebears of Christ Mt.
A second genealogy given in opposite time direction, from the present towards the past is to be found in Luke In this Lukean genealogy, David and his son the priest Nathan are mentioned as forebears Lc. From Solomon respectively Nathan onward, both genealogies diverge completely, whereas they concord with respect to the forebears of king David. The different genealogies constitute direct evidence that the nativities in the gospel of Matthew and Luke relate to different children, called the 'solomonic Jesus' Matthew and the 'nathanic Jesus' Luke.
This is confirmed by the obvious fact that the narratives in both gospels are completely different and imply different time frames. Both Jesus children supposedly became one at the event described in Luke the 'transformation of Jesus in the temple' 3. A detailed chronology of Jesus Christ's lifetime is encoded in the Gospels, especially in John's 4. This is the birthday of Jesus Christ, from a bodily point of view. The horoscopes of both events are given in figure 6. Presumably, January 14, 1 AD is the reference date on which the Anno Domini year reckoning was based.
Below: The great trigon from the nathanic birth horoscope magenta superposed upon the great trigon from the Baptism horoscope.
Both trigons thus united produce the 'Jesus hexagram'. Similarly, at the Baptism in the river Jordan, a great trigon connected a conjunction Sun-Mercury to a trine Uranus- Pluto two planets supposedly unknown in Antiquity. This is the 'Jesus hexagram'. As explained elsewhere8, the hexagram has also an important meaning with respect to the cycle of so-called 'great conjunctions' of Jupiter and Saturn. Therefore, each great conjunction shapes up close to a previous one that occurred about 60 years earlier. As shown in figure 7, the great conjunctions appear as a first approximation at the vertices of an equilateral triangle and with a periodicity of about 20 years.
Crucifixion River book. Read 5 reviews from the world's largest community for readers. A Comanche whos been in the white world for the last several years. Crucifixion River [Marcia Muller, Bill Pronzini] on ekozamipypav.tk *FREE* shipping on qualifying offers. In the Spur Award€“winning title story, a Pinkerton detective.
In between two subsequent great conjunctions i. When such an opposition comes along, Saturn stands again at one of the vertices of the conjunction triangle figure 7. However, Jupiter then stands at one of the vertices of a second triangle that forms a hexagram with the conjunction triangle. So the hexagram can be taken as a symbol for the planet Jupiter, considered within the context of the Jupiter-Saturn cycle9.
This cycle is of uttermost importance for the complex incarnation process of the Verb. The hexagram, inscribed in a circle representing the zodiac, can therefore be understood as a Jupiter symbol and as a symbol for the incarnation process of the Son of Man. The skull centered upon the hexagram refers to the death at Golgotha of the Son of Man. From his astute observations, John North has concluded that the painting must contain the horoscope of Good Friday of the year However, the encodement of the horoscope of a contemporary date would have been a largely trivial undertaking.
Why painstakingly encoding in an esoteric painting a horoscope that would be easily accessible to every then scholar? We propose that Holbein's reference to Good Friday is meant as a pointer to much deeper esoteric content embedded in his artwork. As we will see, The Ambassadors contains the horoscope of the mystical event known as the 'Descent from the Cross', that happened on Friday, April 3rd, 33 AD at about p.
Indeed, Pieter Pauwel Rubens, when producing his 'Descent form the Cross'10, used a pattern of encodement that resembles Holbein's modus operandi. The horoscope of Golgotha Through the ages, researchers have tried to determine the date of the Crucifixion. Modern research has lead many scholars to believe that the Crucifixion happened on Friday, April 3rd, 33 AD 11 and analysis of religious artwork has shown that this was indeed the date transmitted within esoteric Christian tradition The evening hours of that day were hallmarked by a partial lunar eclipse rising over Jerusalem and by the occurrence of an opposition Jupiter-Pluto.
According to the gospels, Christ died at about 3 p. Rubens placed the descent of Christ from the Cross at about p. At that very moment, the opposition Pluto-Jupiter goes precisely north-south, with Jupiter culminating figure 8. Made with Astrodienst. In his Descent from the Cross, Rubens used the vertical beam of the Cross as a representation of the opposition Jupiter-Pluto Positions of other planets are encoded with respect to that opposition.
Holbein encoded the same horoscope in the same vein. The plumbline through the midpoint of the hexagram that coincides with the self-point of the skull depicts the opposition Jupiter-Pluto coinciding with the axis through Midheaven. In artwork, Pluto can be represented by a skull, a dog or a snake.
See text for details. Pre- sumably, this instrument images a 'J' written as a Fraktur-like character that stands for 'Jupiter'. In the same way, the 'S' directly underneath the plumbline refers to 'Saturn' see figure The plumbline is part of a wooden solar instrument, the shape of which is evocative of a 'J' placed on its side figure 10 , in the same way as the 'S' that can be seen on the tapistry below the instrument and that we will see refers to Saturn.
Arguably, Holbein used this instrument as a symbol for Jupiter. The orange line in figure 9 corresponding to EX in figure 4 thus represents the opposition Jupiter-Pluto, with Jupiter culminating and Pluto at the Imum Coeli. In The Ambassadors, the skull representing chtonic Pluto is placed upon the hexagram cfr. Figures 6 and 7 indicating that the horoscope refers to the death of Jesus Christ. The latter is also related to the Sun. The skull refers to the executed Christ and its anamorphic deformation indicates the hour of the Descent from the Cross.
Figure 11 : Approximating Saturn's location on the celestial sphere. Therefore, the planet is to be found on the intersection of the ecliptic purple and a great circle running through Delphinus and Polaris orange; Cancer is also on such a circle; the eye of the onlooker is located in the plane of this circle, that thus appears as a line segment.
The green circle circumscribes the visible hemisphere, the center of which is indicated by a green point Delphinus can be seen directly at the lower left of this point. The blue point gives the estimated position of Saturn, located on the hidden hemisphere. The position of the planet can be reconstructed upon the celestial sphere, as shown in figure Connection of this position with the 'S' below the plumbline produces the purple line shown in figures 9 and Figure Encodement of the positions of Saturn and Mars.
The vertical along the plumbline orange indicates the position of Jupiter culminating. The purple line connects the 'S' to the position of Saturn on the celestial sphere figure Note that the purple line passes over the thread draped in S-shape on top of the cylindrical gnomon.
The red line is part of the red line in figure 9 and gives the position of Mars.
This line runs through the center of the wooden circle with spike red arrow that mimicks the astronomical symbol for Mars. This wooden circle is part of the compound solar instrument. Apparently, Holbein has used this two-part instrument to represent the conjunction Jupiter-Mars in the horoscope with the J-shaped part with plumbline representing culminating Jupiter, and the circle with spike representing Mars.
Note that the red line also reaches the pivoted arm upon which the circle is to be placed. This part has a spike that roughly mimicks the symbol for the planet Mars. We will now see that the symbols for the three lower planets Moon, Mercury and Venus also located at lower parts in the horoscope are placed on the under shelf. Figure the encodement of the positions of Mercury and Venus see text. On the lower shelf are two books, with a pair of dividers at right and a set- square at left figure These objects encode for the positions of Mercury and Venus in the horoscope figure 8.
The angle on the right side has to be taken, because Mercury stands above the western horizont. In the horoscope, the two inferior planets stand in conjunction above the western horizont.
Therefore, we would expect the representation of Mercury to be at the right side of the vertical through the plumbline orange line in figures 4, 9 and Apparently for compositorial reasons, Holbein has put one book at either side of this line that runs along the neck of the lute. In order to indicate that Mercury really belongs at the other side of the axis, the arithmetic book is shown half-closed: in order to read it, one has to perform a turn-over along the axis of the book, and in the same way, one has to perform a flip-over of the book itself over the axis of the painting, in order to read the horoscope hidden in the painting Holbein has indicated the positions of Venus and Mercury in still another way, using the neck of the lute for this second encodement.
The orange line in figure 13 gives the axis of the terrestrial globe also in red in figure This axis points to the lower border of the lute's neck. This border marks the position of the Earth, i. To be more specific, the axis pointing downward, this border indicates the descendant. Moving upward along the right border of the lute's neck, we count six pegs before reaching the dividers. This corresponds to Venus standing about six degrees above the western horizont. Clearly, the neck of the lute has been positioned carefully along the vertical through the plumbline line EX in figure 4 in order to psupport this ingenious encodement.
The descending node is involved in an upcoming lunar eclipse, which has been indicated by the inverted lute case that lies on the floor, in the dark below the shelf and at the left side of the central plumbline. The location of the lute case on the painting, as well as its darkness, correspond to the position of this node and its involvment in the eclipse. Clearly, the relationships of symmetry and equivalence connecting both lunar nodes are reflected by the isomorphic relationship connecting the lute and its case.
The four flutes protruding out of a case for five — one flute seems to be missing are directed about parallel to the skull and seem to represent the four-phased Moon cycle. The lacking flute could represent the special case of a lunar eclipse when the Moon is 'lacking' at the sky. The flutes are placed directly beneath the lute that indicates the position of the lunar nodes.
Thus the musical instruments on the lower shelf inform us on the Moon. On the one hand, the parallellism of the skull and the flutes points to an opposition Sun- Moon, and on the other hand, the fact that the lute's direction differs only by a few degrees from the skull's, points to a lunar eclipse full Moon, with Moon and Sun close to the lunar nodes.
This is confirmed by the remarkable of the scene; see figure 12 and comments on p. The flutes point to the circle on the floor whereupon ambassador de Dinteville places his right foot. Apparently, this bleak circle underneath his black footwear impersonates the eclipsing Moon. Thus the two circles at the feet of both ambassadors seem to represent the Sun at right, before de Selve and the Moon at left, before de Dinteville , with the Moon involved in an eclipse. This configuration seems to represent the square aspects connecting Mercury to the opposition Sun-Moon compare figures 1 and 8.
Figure The dagger pointing to Jerusalem orange arrow. The vertical line corresponds to line EF in figure 4 that runs along the plumbline and the lute's neck also indicated on figures 9 and It is the midline of the square ABCD in figure 4 serving as the backbone for the encoded horoscope's layout. The terrestrial sphere, also on the lower shelf, provides still another piece of information concerning the horoscope.
The dagger of Jean de Dinteville points to Jerusalem figure 14, orange arrow , indicating the location associated with the horoscope. The encoding of the horoscope is hitched upon the axis along the plumbline that bisects the square ABCD in figure 4. The strip shows more than just a crucifix.
It shows a crucifix revealing itself from behind a curtain We already know that the painting refers to the day of Christ's crucifixion. Therefore, the crucifix refers to the event of Christ's Crucifixion at Golgotha, that reveals itself from behind some curtain. And indeed, the gospels mention a combination of precisely these three elements. The veil of the Temple16 was rent in two when Christ died Matt. This renting of the veil acted as a revelation, in at least two senses. Firstly, it revealed to the centurion the true nature of Jesus Christ. Secondly, it revealed what was hidden behind the veil The congruence between the passages in the synoptics and the imagery on the painting is extremely specific, implying that the crucifix and the curtain on the painting represent the Crucifixion and the veil of the Temple.
The painting is conceived as an esoteric revelation with respect to the crucified Christ and the veil of the Temple. We follow Gurtner David M. Josephus' account in J. What was really at stake was the revelation of the 'Mysteries' in the ancient sense. Jerusalem's Temple was the seat of the Jewish Mysteries, as is symbolized by the Menorah. On the latter point, see p. It cannot be argued that the centurion reacts to Jesus' cry without observation of the veil ripping in two, because the centurion's radical and god-centered conclusion 'This man was the Son of God! On the contrary, such a staggering acknowledgment presupposes the observation of a disconcerting and god-related event, such as the renting of the Temple's veil.
Clearly, Mark wants to state that the centurion saw — with his own eyes - Christ's death coinciding with the splitting of the veil. Now, all this could have happened only if the Crucifixion of Christ was executed close to the top of Mount Olivet. Indeed, the entrance of the Temple was directed to the east, toward the northern summit of Mount Olivet.
It was impossible to see this entrance and the veil covering it from the south, the west or the north Moreover, it is documented that a viewline existed connecting the entrance of the Temple to the Miphqad altar see below that must have been located close to the top of the Mount of Olives Finally, the dimensions of the veil were such that its ripping in two would have been observable from the distance implied In Mark, the torning of the veil of the Temple parallels Jesus seeing the heaven torn open at his Baptism Mk Christ seeing the heavens torn 18 Quite dramatically, the location of the 'Church of the Holy Sepulchre', taken by most as the place of Christ's Crucifixion, is with respect to the Temple almost exactly opposite the direction of the top of Mount Olivet.
This Church has been built upon the ruins of the Temple of Venus, erected by emperor Hadrian. Taking