Winslow Homer
AW197/CR105/Sun conj.
Winslow Homer (February 24, 1836 – September 29, 1910) born in Boston, Massachusetts, was an American landscape painter and printmaker, most famous for his marine subjects. Largely self-taught, he is considered one of the foremost painters in 19th century America, and a preeminent figure in American art.
Homer was apprenticed to a Boston commercial lithographer at the age of 19. By 1857 his freelance illustration career was underway and he contributed to magazines such as Ballou's Pictorial and Harper's Weekly. His early works, mostly commercial engravings, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings — qualities that remained important throughout his career.
In 1859 he opened a studio in New York City, and began his painting career. Harper's sent Homer to the front lines of the American Civil War (1861 - 1865), where he sketched battle scenes and mundane camp life. His initial sketches were of the camp and army of the famous Union officer, Major General George B. McClellan at the banks of the Potomac River in October, 1861. Although the drawings did not get much attention at the time, they mark Homer's transition from illustrator to painter. Back at his studio after the war, Homer set to work on a series of war-related paintings, among them "Sharpshooter on Picket Duty", and "Prisoners from the Front", which is noted for its objectivity and realism.
"The war also furnished him with the subjects for the first two pictures which he exhibited (1863), one of which was "Home, Sweet Home."
Home, Sweet Home
His "Prisoners from the Front" -- perhaps his most generally popular picture --
Prisoners from the Front
was exhibited in New York in 1865, and also in Paris in 1867, where he was spending the year in study. Among his other paintings in oil are "Snap the Whip"
Snap the Whip, 1872
(which was exhibited at the Philadelphia Centennial Exhibition of 1876)( of his work at this time, Henry James wrote:
"We frankly confess that we detest his subjects...he has chosen the least pictorial range of scenery and civilization; he has resolutely treated them as if they were pictorial...and, to reward his audacity, he has incontestably succeeded".
Also, in company with "The Country Schoolroom", at the Paris Salon the following year), "Eating Watermelon", "The Cotton Pickers", "Visit from the Old Mistress, Sunday Morning", "The Life-Line" and "The Coming of the Gale"."
Early landscapes and watercolors
"His genius, however, has perhaps shown better in his works in watercolor, among which are his marine studies painted at Gloucester, Massachusetts, and his "Inside the Bar", "The Voice from the Cliffs" (pictures of English fisherwomen),
The Voice from the Cliffs
"Tynemouth", "Wrecking of a Vessel" and "Lost on the Grand Banks." His work, which principally consists of genre pictures, is characterized by strength, rugged directness and unmistakable freshness and originality, rather than by technical excellence, grace of line or beauty of color. He was little affected by European influences".
After exhibiting at the National Academy of Design, Homer traveled to Paris, France in 1867 where he remained for a year. He practiced landscape painting while continuing to work for Harper's. Though his interest in depicting natural light parallels that of the impressionists, there is no evidence of direct influence.
Throughout the 1870s he painted mostly rural or idyllic scenes of farm life, children playing, and young adults courting. Homer gained acclaim as a painter in the late 1870s and early 1880s.
"His subject matter of the 1870s was primarily rural or idyllic—scenes of farm life; children at play; and resort scenes peopled with fashionable women; one of the best known of the latter is Long Branch, New Jersey (1869, Museum of Fine Arts, Boston)".
Long Branch, New Jersey, 1869
The same straightforward sensibility which allowed Homer to distill art from these potentially sentimental subjects also yielded the most unaffected views of African American life at the time.
Homer was a member of the The Tile Club, a group of artists and writers who met frequently to exchange ideas and organize outings for painting. Homer's nickname in The Tile Club was The Obtuse Bard. Other well known Tilers were painters William Merritt Chase, Arthur Quartley, and the sculptor Augustus Saint Gaudens.
In 1873 Homer started painting with watercolors. His impact on the medium would be revolutionary. Homer's watercolor paintings exhibit a fresh, spontaneous, loose, yet natural style. Thereafter, he seldom traveled without paper, brushes and water based paints. Homer once remarked,
"You will see, in the future I will live by my watercolors".
England
I
n 1875 Homer quit working as a commercial illustrator. He traveled widely, spending two years (1881 – 1882) in the English coastal village of Cullercoats, Northumberland, where he rekindled his boyhood interest in the sea, and painted the local fisherfolk. Thereafter he concentrated on large-scale scenes of nature, particularly scenes of the sea, of its fishermen, and of their families.
Many of the paintings at Cullercoats took as their subjects young women mending nets or looking out to sea; they are imbued with a solidity, sobriety, and earthy heroism which was new to Homer's art, and they presage the direction of his future work.
"In 'Mending the Nets', he conveys the idea of skills acquired through generations of families at work. Mending, along with dividing the catch and distributing the fish at market, occupied the fisherwomens' time for most of the day.
Mending the Nets
The composition suggests Homer's familiarity with classical sculpture. The overlapping figures of the women create a compact group in a relatively shallow space, recalling relief sculpture such as the Parthenon friezes that Homer may have seen at the British Museum. The neutral background silhouettes the two figures starkly, emphasizing their strong sculptural quality. In this way, Homer presents these women at their daily tasks as timeless archetypes, imbued with a sober and noble simplicity".
Maine and maturity
Back in the U.S., he moved to Prout's Neck, Maine (in Scarborough) and painted the seascapes for which he is best known. Notable among these dramatic struggle-with-nature images are Banks Fisherman, Eight Bells, (1886, Addison Gallery, Andover, Massachusetts);
Weatherbeaten, 1894
Cannon Rock
On a Lee Shore
Eastern Point Prouts Neck
Northeaster
Eight Bells, 1886
in it the drama of the sea scene is imbued with an epic, heroic quality that symbolizes the dominant theme of his maturity: human struggle with the forces of nature.
'The Gulf Stream', 'Rum Cay',
Rum Cay
and Searchlight, Harbor Entrance, Santiago de Cuba,
Searchlight, Harbor Entrance, Santiago de Cuba
although Homer never taught, these works strongly influenced succeeding generations of American painters for their direct and energetic interpretation of man's stoic relationship to an often neutral and sometimes harsh wilderness (See Lost on the Grand Banks, collection of Bill Gates).
Lost on the Grand Banks
Robert Henri called Homer's work an "integrity of nature". (Robert Henri, The Art Spirit, HarperCollins, 1984).
"After 1884, Homer spent many of his winters in Florida, in the Bahamas, and in Cuba. His many scenes of the Tropics were painted mostly in watercolor, and his technique was the most advanced of its day—loose, fresh, spontaneous, almost impressionistic, although it never lost its basic grounding in naturalism. In 1899 he painted one of his most powerful works, the frightening 'Gulf Stream' (Metropolitan Museum), which depicts a solitary black sailor in a small, disabled boat, beset by sharks and alone on a billowing sea.
Gulf Stream
In the grandeur of his themes and the strength of his designs, he became a dominant influence on the American realist style of painting".
"Additionally he found inspiration in a number of summer trips to the North Woods Club, near the hamlet of Minerva, New York in the Adirondack Mountains. It was on these fishing vacations that he experimented freely with the watercolor medium, producing works of the utmost vigor and subtlety, hymns to solitude. In terms of quality and invention, Homer's achievements as a watercolorist are unparalleled: "Homer had used his singular vision and manner of painting to create a body of work that has not been matched."
"Human beings are reduced to insignificant roles or are entirely omitted from Homer's later works, such as Early Morning after a Storm at Sea (1902; Cleveland Museum, Ohio).
Early Morning after a Storm at Sea, 1902
These stark, almost surreal depictions of nature's fury puzzled admirers of Homer's earlier works, but by the time of his death, he was recognized as a master, especially in watercolors, which display his gifts to fullest advantage".
"Besides being a member of the Society of Painters in Watercolor, New York, he was elected in 1864 an associate and the following year a member of the National Academy of Design. Somewhat of a recluse, Winslow Homer never married".
---------------------------------------------------
"Some major artists create popular stereotypes that last for decades; others never reach into popular culture at all. Winslow Homer was a painter of the first kind. Even today, 150 years after his birth, one sees his echoes on half the magazine racks of America. Just as John James Audubon becomes, by dilution, the common duck stamp, so one detects the vestiges of Homer's watercolors in every outdoor-magazine cover that has a dead whitetail draped over a log or a largemouth bass, like an enraged Edward G. Robinson with fins, jumping from dark swamp water. Homer was not, of course, the first "sporting artist" in America, but he was the undisputed master of the genre, and he brought to it both intense observation and a sense of identification with the landscape-just at the cultural moment when the religious Wilderness of the nineteenth century, the church of nature, was shifting into the secular Outdoors, the theater of manly enjoyment. If you want to see Thoreau's America turning into Teddy Roosevelt's, Homer the watercolorist is the man to consult.
"The Homer sesquicentennial (he was born in 1836 and died in 1910) is being celebrated with "Winslow Homer Watercolors," organized by Helen Cooper at the National Gallery of Art in Washington, D.C. Her catalogue is a landmark in Homer studies. It puts Homer in his true relationship to illustration, to other American art and to the European and English examples he followed, from Ruskin to Millet; its vivacity of argument matches that of the paintings. Cooper has brought together some two hundred watercolors-almost a third of Homer's known output. It is a wholly delectable show, and it makes clear why watercolor, in its special freshness and immediacy, gave Homer access to moments of vision he did not have in the weightier, slower diction of oils.
"You will see, in the future I will live by my watercolors," Homer once remarked, and he was almost right. He came to the medium late: he was thirty-seven and a mature artist. A distinct air of the Salon, of the desire for a "major" utterance that leads to an overworked surface, clings to some of the early watercolors-in particular, the paintings of fisher folk he did during a twenty-month stay in the northern English coastal village of Cullercoats in 1881-82. Those robust girls, simple, natural, windbeaten and enduring, planted in big boots with arms akimbo against the planes of sea, rock and sky, are also images of a kind of moralizing earnestness that was common in French Salon art a century ago. Idealizations of the peasant, reflecting an anxiety that folk culture was being annihilated by the gravitational field of the city, were the stock of dozens of painters like Jules Breton, Jules Bastien-Lepage and jean-François Millet. Homer's own America had its anxieties too-immense ones. Nothing in its cultural history is more striking than the virtual absence of any mention of the central American trauma of the nineteenth century, the Civil War, from painting. Its fratricidal miseries were left to writers (Walt Whitman, Stephen Crane) to explore, and to photographers. But painting served as a way of oblivion-of reconstructing an idealized innocence. Thus, as Cooper points out, Homer's 1870s watercolors of farm children and bucolic courtships try to memorialize the halcyon days of the 1850s; the children gazing raptly at the blue horizon in Three Boys on the Shore, their backs forming a shallow arch, are in a sense this lost America. None of this prevented Homer's contemporaries from seeing such works as unvarnished and in some ways disagreeable truth. "Barbarously simple," thought Henry James. "He has chosen the least pictorial features of the least pictorial range of scenery and civilization as if they were every inch as good as Capri or Tangier; and, to reward his audacity, he has incontestably succeeded."
"Once into his forties, Homer rarely went anywhere without rag paper, sable brushes and little pans of color. He took his working vacations in places he knew would give him subjects-the New England coast, the Adirondacks, the tumultuous rivers of Quebec, the Florida Keys and the dark palmetto-fringed pools of Homosassa, the bays and whitewashed coral walls of the Bermudas.
Coral Formation
"Although Homer exhibitions up to now have tended to treat his watercolors as ancillary to his oils, mere preparations, it is clear at the National Gallery that Homer did not think the same way and that he did more than any other nineteenth-century American artist to establish watercolor as an important medium in this country. In structure and intensity, his best watercolors yield nothing to his larger paintings. Homer had great powers of visual analysis; he could hardly look at a scene without breaking it down and resolving it as structure, and some of his paintings of the Adirondack woods, with their complicated shuttle of vertical trunks against a fluid background of deep autumnal shade, are demonstration pieces of sinewy design. He was able to isolate a motif in action, as though the watercolor were a pseudo-photograph. This sometimes looks false, but it was exactly the kind of falsity that appealed to popular taste, and Homer's watercolors of leaping trout and thrashing bass, the Big Fish dominating the foreground, are a curious conjunction of the merely illustrative and the frenetically decorative. In his sober moods he was rarely off-key. His Adirondack paintings have the astringent completeness of the Michigan woods in early Hemingway. Perhaps no painting has ever conveyed a hunter's anxiety better than 'Hound and Hunter',

Hound and Hunter
with its flustered boy in the dinghy trying to get a rope on a shot stag's antlers before its corpse sinks, lurching to and fro in a cave of forest darkness and disturbed silver ripples.
"Watercolor is tricky stuff, an amateur's but really a virtuoso's medium. It is the most light-filled of all ways of painting, but its luminosity depends on the white of the paper shining through thin washes of pigment. One has to work from light to dark, not (as with oils) from dark to light. It is hospitable to accident (Homer's seas, skies and Adirondack hills are full of chance blots and free mergings of color) but disaster-prone as well. One slip, and the veil of atmosphere turns into a mud puddle, a garish swamp. The stuff favors broad effects; nothing proclaims the amateur more clearly than niggling and overcorrection. It can be violated (Homer sometimes did his highlights by tearing strips of paper away to show white below), but it also demands an exacting precision of the hand-and an eye that can translate solid into fluid in a wink. Homer understood and exploited all these needs of watercolor better than his contemporaries, and he applied them where they most belonged--to the recording of immediate experience. A painting like Key West, Hauling Anchor, 1903, has a sparkling directness hardly attainable in oil.

Key West, Hauling Anchor, 1903
It is so simple-looking - blue sea, white boat, a patch or two of red shirt, the red picked up again at the boat's waterline and in a jaunty lick or two of carmine reflection - that at first one does not mark the skill that went into it, the power of epigrammatic observation implicit in Homer's ability to convey the milky blue water over a Florida sand bottom in two washes of cerulean and cobalt. One knows how little time it took to see and how little to do; but one senses the years of self-critical practice behind it. No wonder Homer is the despair of every amateur.
- From "Nothing If Not Critical: Selected Essays on Art and Artists", by Robert Hughes
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Assuming noon, converted to 16:44:16 UT by Astrodienst
Using RIYAL 3.0
Astrological Setting (Tropical - Placidus)
RIYAL Wed February 24 1836 UT 16h44m16s Lat42n22 Lon71w04 SORT ALL
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Latitude
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O. Range
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Uranus
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0Pi47
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0s43
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11s53
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Aqr
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20.0
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84
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0.8
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RR43
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0Li51 r
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28n51
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25n56
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Com
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49.2
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285
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28.5
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37.5->49.2
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(Midheav)
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1Pi35
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0n00
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10s55
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Aqr
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VQ94
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1Ar36
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55s05
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48s14
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Phe
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149.5
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2616
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70.5
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6.6->373.1
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Huya
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1Ar36
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4s03
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3s05
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Psc
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43.8
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247
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15.5
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28.5->50.2
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FY9
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1Aq38
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20s32
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39s44
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Mic
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41.9
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305
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29.0
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38.1->52.5
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QB243
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2Ta34
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6n07
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18n06
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Ari
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42.4
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204
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6.8
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15.3->54.0
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OO67
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2Sc57 r
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19n16
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5n39
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Vir
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148.5
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13019
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20.0
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20.8->1086
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CF119
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2Ar58
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17n25
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17n06
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Peg
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102.8
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839
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19.7
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38.5->139.
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Chaos
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3Sa02
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2s58
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23s42
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Sco
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48.9
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309
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12.0
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40.8->50.5
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Chiron
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3Ge02
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4s24
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16n28
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Tau
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13.9
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49
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7.0
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8.4->18.4
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CY118
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3Ta26
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20s52
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6s59
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Cet
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105.0
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864
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25.7
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34.7->146.
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CR105
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3Pi41
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10s55
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20s18
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Aqr
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103.8
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3317
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22.9
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43.9->401.
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OM67
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3Li43 r
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15s13
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15s24
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Crv
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99.3
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974
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23.3
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39.4->157.
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AW197
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4Pi18
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15n38
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4n39
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Peg
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48.1
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323
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24.4
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41.1->53.1
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Neptune
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4Aq38
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0n11
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18s56
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Cap
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30.1
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164
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1.8
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96PW
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4Vi49 r
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7n01
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16n17
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Leo
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151.5
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3581
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29.3
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2.6->465.5
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Sun
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5Pi10
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0n00
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9s38
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Aqr
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1.0
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1
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0.0
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Saturn
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5Sc10 r
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2n37
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10s48
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Lib
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9.8
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29
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2.5
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UR163
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5Vi13 r
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0s27
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9n11
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Leo
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57.3
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372
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0.7
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37.3->66.3
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MS4
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5Ta22
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0s56
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12n27
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Ari
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36.4
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271
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17.7
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35.7->48.1
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Juno
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5Ca30
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14s50
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8n32
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Mon
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2.2
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4
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13.0
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2.0->3.4
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Jupiter
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5Ca55 r
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0n10
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23n30
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Gem
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5.2
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12
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1.3
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BU48
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5Li55 r
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11n58
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8n38
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Vir
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38.5
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193
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14.2
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20.6->46.2
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7Ca08 r
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19s30
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3n48
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Mon
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41.7
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270
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19.3
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40.9->42.7
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7Sa10
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10n10
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11s30
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Oph
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14.6
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86
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12.8
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14.0->24.8
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Pallas
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7Aq11
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23n40
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4n27
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Aql
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3.4
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5
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34.6
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2.1->3.4
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(Moon)
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7Ge24
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1n13
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22n46
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Tau
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1.0
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0
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5.1
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TC302
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7Cp44
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33s54
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57s02
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71.2
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409
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35.0
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38.7->71.5
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GM137
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7Ca47 r
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3n06
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26n19
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Gem
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7.8
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23
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15.7
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7.1->8.9
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7Aq53
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0n10
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18s10
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Cap
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50.1
|
302
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2.9
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39.5->50.5
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UJ438
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8Aq01
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2n35
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15s47
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Cap
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25.5
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74
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3.8
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8.2->26.9
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Asbolus
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8Vi17 r
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8n27
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16n18
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Leo
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19.9
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76
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17.6
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6.9->28.9
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KF77
|
8Le22 r
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3n59
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22n02
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Cnc
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30.8
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133
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4.3
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20.0->32.2
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SB60
|
8Ca23 r
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0s45
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22n27
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Gem
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44.5
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275
|
23.9
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37.9->46.6
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Radamantus
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8Cp36
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12s35
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35s44
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Sgr
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44.9
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242
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12.7
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32.7->45.0
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Venus
|
8Ar46
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0s33
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2n58
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Psc
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0.7
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1
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3.4
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Ceto
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8Pi57
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4n20
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4s13
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Aqr
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116.5
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1014
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22.4
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17.6->184.
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Damocles
|
8Aq57
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8s18
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26s01
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Cap
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15.2
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40
|
62.1
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1.6->21.9
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RD215
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9Sc31 r
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5n21
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9s36
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Lib
|
107.3
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1340
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26.0
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37.6->205.
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GZ32
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9Ta31
|
13s21
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2n00
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Cet
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26.4
|
111
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15.0
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18.1->28.0
|
AZ84
|
9Sc36 r
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7s18
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21s36
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Lib
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34.1
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248
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13.6
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32.5->46.5
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Okyrhoe
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10Ge06
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16s07
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6n02
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Ori
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6.9
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23
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15.8
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5.9->10.3
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Chariklo
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10Aq20
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4n19
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13s30
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Aqr
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17.2
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62
|
23.4
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13.0->18.4
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Amycus
|
10Ta25
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13n10
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27n24
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Tri
|
32.1
|
126
|
13.3
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15.3->34.9
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Ixion
|
10Ta34
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8s56
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6n30
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Cet
|
30.8
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249
|
19.6
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29.9->49.3
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FZ53
|
10Pi43
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23n07
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13n50
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Peg
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32.6
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116
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34.9
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12.3->35.1
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TO66
|
10Le59 r
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19n19
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35n57
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LMi
|
44.0
|
287
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27.4
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38.4->48.6
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GV9
|
11Pi01
|
21n30
|
12n28
|
Peg
|
44.9
|
271
|
22.0
|
38.6->45.1
|
PJ30
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11Ca35r
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0n56
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23n53
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Gem
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105.5
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1383
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5.5
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29.0->219.
|
PB112
|
11Sc51 r
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11s25
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26s14
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Hya
|
113.9
|
1108
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15.4
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35.3->178.
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Pluto
|
13Ar26
|
16s51
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10s13
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Cet
|
47.5
|
248
|
17.2
|
29.7->49.2
|
Thereus
|
13Ca32r
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20s58
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1n54
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Mon
|
13.6
|
38
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20.2
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8.9->13.7
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Pylenor
|
13Li32 r
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4n43
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1s00
|
Vir
|
15.9
|
68
|
5.5
|
11.7->21.8
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MW12
|
13Ge51r
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20s48
|
1n49
|
Ori
|
42.8
|
311
|
21.5
|
39.4->52.4
|
CO1
|
14Aq12
|
15s58
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31s47
|
PsA
|
21.5
|
94
|
19.7
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10.9->30.4
|
Echeclus
|
14Sc13r
|
3n14
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13s02
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Lib
|
10.2
|
34
|
4.4
|
5.8->15.4
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Deucalion
|
14Ar20
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0s13
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5n28
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Psc
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43.6
|
293
|
0.4
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41.4->46.7
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Quaoar
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14Ta29
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5s02
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11n23
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Ari
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42.5
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287
|
8.0
|
41.9->45.1
|
Ceres
|
15Aq23
|
6s05
|
22s02
|
Cap
|
3.0
|
5
|
10.6
|
2.5->3.0
|
PN34
|
15Pi44
|
12n03
|
5n29
|
Psc
|
15.5
|
171
|
16.6
|
13.3->48.4
|
TY364
|
15Le49 r
|
0s55
|
15n15
|
Cnc
|
36.3
|
244
|
24.8
|
36.3->41.9
|
TD10
|
16Li00 r
|
1n20
|
5s04
|
Vir
|
124.0
|
927
|
6.0
|
12.3->177.
|
Apogee
|
16Ge12
|
1n57
|
24n41
|
Tau
|
 |
 |
 |
 |
QB1
|
16Vi27 r
|
0n25
|
5n44
|
Leo
|
46.9
|
293
|
2.2
|
41.2->47.0
|
Cyllarus
|
16Sa30
|
5s13
|
27s58
|
Oph
|
23.4
|
133
|
12.6
|
16.3->36.0
|
RL43
|
16Sc33r
|
11n12
|
6s03
|
Lib
|
24.7
|
121
|
12.3
|
23.5->25.5
|
Vertex
|
16Sc41
|
 |
 |
 |
 |
 |
 |
 |
RZ214
|
17Li00 r
|
5s47
|
12s02
|
Vir
|
91.5
|
777
|
20.5
|
36.9->132.
|
Flora
|
17Sc01
|
7n16
|
9s58
|
Lib
|
2.5
|
3
|
5.9
|
1.9->2.5
|
XX143
|
17Ge03r
|
2s34
|
20n17
|
Tau
|
18.8
|
76
|
6.8
|
9.7->26.3
|
WL7
|
17Ca55r
|
11n06
|
33n15
|
Gem
|
15.6
|
91
|
11.1
|
15.0->25.6
|
CO104
|
18Pi00
|
0s09
|
4s53
|
Aqr
|
26.4
|
118
|
3.1
|
20.5->27.5
|
KX14
|
18Pi00
|
0n21
|
4s25
|
Aqr
|
37.0
|
241
|
0.4
|
37.0->40.5
|
TL66
|
18Sa06
|
16n34
|
6s25
|
Oph
|
99.5
|
756
|
24.0
|
34.7->131.
|
Atlantis
|
18Sc07
|
2s43
|
19s51
|
Lib
|
2.6
|
3
|
2.7
|
1.5->3.0
|
HB57
|
18Ge25r
|
13s58
|
9n03
|
Ori
|
123.1
|
2061
|
15.5
|
38.5->285.
|
Orcus
|
18Sc50r
|
13s19
|
30s12
|
Cen
|
41.0
|
246
|
20.6
|
30.5->48.0
|
VR130
|
18Sc58r
|
2n38
|
14s56
|
Lib
|
32.8
|
117
|
3.5
|
14.8->33.1
|
Mars
|
19Aq03
|
1s06
|
16s10
|
Cap
|
1.4
|
2
|
1.9
|
 |
SQ73
|
19Sa08
|
15s12
|
38s10
|
Sco
|
15.7
|
74
|
17.5
|
14.6->20.6
|
UX25
|
19Li18 r
|
1s26
|
8s53
|
Vir
|
40.7
|
280
|
19.5
|
36.6->49.0
|
Nessus
|
19Ta38
|
5n59
|
23n25
|
Ari
|
31.9
|
122
|
15.6
|
11.9->37.4
|
Pelion
|
19Ar51
|
8s48
|
0s23
|
Cet
|
20.3
|
90
|
9.4
|
17.4->22.7
|
Bienor
|
20Li08 r
|
14s48
|
21s31
|
Vir
|
14.9
|
67
|
20.7
|
13.2->19.9
|
TX300
|
21Le48 r
|
0n06
|
14n21
|
Leo
|
48.2
|
286
|
25.8
|
38.3->48.6
|
Teharonhi
|
22Ca03r
|
0n25
|
22n04
|
Gem
|
43.5
|
295
|
2.6
|
43.0->45.7
|
FP185
|
22Ta13
|
26s10
|
7s01
|
Eri
|
128.9
|
3268
|
30.9
|
34.5->406.
|
DH5
|
22Cp35
|
15n33
|
6s13
|
Aql
|
29.6
|
103
|
22.5
|
13.9->30.1
|
RM43
|
22Sa46
|
0n04
|
23s12
|
Oph
|
104.4
|
855
|
28.9
|
34.8->145.
|
XA255
|
22Ge57r
|
4s14
|
19n02
|
Tau
|
20.2
|
165
|
12.7
|
9.4->50.8
|
GB32
|
23Ge09r
|
14s15
|
9n04
|
Ori
|
132.8
|
3066
|
14.2
|
35.8->386.
|
Node
|
23Ta35 r
|
0n00
|
18n41
|
Tau
|
 |
 |
 |
 |
CZ118
|
23Ge43r
|
27n21
|
50n37
|
Aur
|
122.3
|
1250
|
27.7
|
38.1->193.
|
FZ173
|
23Ta52
|
10n21
|
28n45
|
Ari
|
105.7
|
794
|
12.7
|
32.7->138.
|
Sedna
|
24Pi12
|
6s23
|
8s10
|
Cet
|
161.1
|
11637
|
12.0
|
75.8->951.
|
Eris
|
24Aq30
|
41s37
|
51s27
|
Gru
|
78.8
|
555
|
44.0
|
37.8->97.3
|
XR190
|
24Cp49
|
35n55
|
14n12
|
Aql
|
59.6
|
430
|
46.7
|
52.2->61.7
|
RZ215
|
24Vi54 r
|
7s15
|
4s37
|
Vir
|
110.0
|
1025
|
25.4
|
31.2->172.
|
Elatus
|
25Vi04 r
|
5n51
|
7n20
|
Vir
|
17.0
|
45
|
5.5
|
7.5->17.9
|
VS2
|
25Vi17 r
|
12s23
|
9s29
|
Crt
|
40.9
|
249
|
14.8
|
36.6->42.6
|
Typhon
|
25Cp27
|
1s57
|
22s59
|
Sgr
|
48.5
|
231
|
2.4
|
17.4->58.0
|
OP32
|
25Ge46r
|
27s20
|
3s55
|
Ori
|
47.5
|
286
|
27.2
|
39.1->47.8
|
XZ255
|
25Sc57
|
1n04
|
18s14
|
Lib
|
16.3
|
63
|
2.6
|
15.3->16.5
|
LE31
|
26Aq01
|
14s48
|
26s43
|
PsA
|
5.5
|
23
|
152.6
|
4.3->11.9
|
Hylonome
|
26Ta04
|
3s40
|
15n44
|
Tau
|
27.2
|
126
|
4.2
|
18.9->31.3
|
YQ179
|
26Pi07
|
19s25
|
19s17
|
Cet
|
106.6
|
835
|
20.9
|
37.0->140.
|
BL41
|
26Cp28
|
2n23
|
18s32
|
Sgr
|
10.3
|
31
|
13.4
|
7.1->12.6
|
GQ21
|
26Ta48
|
9s37
|
10n06
|
Tau
|
98.1
|
910
|
13.4
|
38.5->149.
|
(Ascend)
|
27Ge08
|
0n00
|
23n26
|
Tau
|
 |
 |
 |
 |
Pholus
|
27Sa45
|
13n19
|
10s08
|
Ser
|
27.4
|
91
|
24.7
|
8.7->31.8
|
Hephaistos
|
27Ar48
|
1n49
|
12n23
|
Ari
|
3.5
|
3
|
14.4
|
0.4->4.0
|
Varuna
|
28Sc02
|
10n53
|
9s07
|
Lib
|
44.3
|
281
|
17.2
|
40.6->45.2
|
Heracles
|
28Aq08
|
1n22
|
10s51
|
Aqr
|
2.3
|
2
|
10.0
|
0.4->3.2
|
OX3
|
29Pi19
|
3n05
|
2n33
|
Psc
|
19.0
|
181
|
3.3
|
17.5->46.5
|
EL61
|
29Aq23
|
14s24
|
25s07
|
Aqr
|
35.3
|
282
|
28.3
|
34.7->51.4
|
SA278
|
29Cp46
|
12n17
|
8s12
|
Aql
|
117.3
|
882
|
16.3
|
32.6->151.
|
Mercury
|
29Aq56r
|
3n38
|
8s06
|
Aqr
|
0.4
|
0
|
7.0
|
 |
Focused Minor Planets
AW197 = 4 Pi 18
CR105 = 3 Pi 41
Sun = 5 Pi 10
96PW = 4 Vi 49 r
UR163 = 5 Vi 13 r
Saturn = 5 Sc 10 r Grand Trine
OO67 = 2 Sc 57 r
Jupiter = 5 Ca 55 r
Juno = 5 Ca 30
MS4 = 5 Ta 22 Sextile
Chiron = 3 Ge 02 T Square
Chaos = 3 Sa 02
_____________________
TL66 = 18 Sa 06
HB57 = 18 Ge 25 r
Mars = 19 Aq 03 Sextile
UX25 = 19 Li 18 r
Orcus = 18 Sc 50 r Semisextile
____________________
Eris = 24 Aq 30
Venus = 8 Ar 46 Semisquare
Node = 23 Ta 35 r Square
FZ173 = 23 Ta 52
GB32 = 23 Ge 09 r Trine
XR190 = 24 Cp 49 Semisextile
RZ215 = 24 Vi 54 r Quincunx
___________________
Varuna = 28 Sc 02
Mercury = 29 Aq 56 r Square
EL61 = 29 Aq 23
Heracles = 28 Aq 08
SA278 = 29 Cp 46 Sextile
Hephaistos = 27 Ar 48 Quincunx
__________________
Others:
RR43 = 0 Li 51 r
VQ94 = 1 Ar 36
Huya = 1 Ar 36
Uranus = 0 Pi 47 Quincunx
Mercury = 29 Aq 56 r
FY9 = 1 Aq 38 Trine
_____________________
EL61 = 29 Aq 23
Mercury = 29 Aq 56 r
Heracles = 28 Aq 08
Uranus = 0 Pi 47
Pluto = 13 Ar 26 Semisquare
Varuna = 28 Sc 02 Square
SA278 = 29 Cp 46 Semisextile
Hephaistos = 27 Ar 48 Sextile
_________________________
_________________________
Astrological Setting (Sidereal - Fagan/Bradley)
RIYAL Wed February 24 1836 UT 16h44m16s Lat42n22 Lon71w04 SORT ALL
Planet
|
Longit.
|
DH5
|
0Cp08
|
RM43
|
0Sa19
|
XA255
|
0Ge30 r
|
GB32
|
0Ge42 r
|
Node
|
1Ta08 r
|
CZ118
|
1Ge16 r
|
FZ173
|
1Ta25
|
Sedna
|
1Pi45
|
Eris
|
2Aq03
|
XR190
|
2Cp22
|
RZ215
|
2Vi27 r
|
Elatus
|
2Vi37 r
|
VS2
|
2Vi50 r
|
Typhon
|
3Cp00
|
OP32
|
3Ge19 r
|
XZ255
|
3Sc30
|
LE31
|
3Aq34
|
Hylonome
|
3Ta37
|
YQ179
|
3Pi40
|
BL41
|
4Cp01
|
GQ21
|
4Ta21
|
(Ascend)
|
4Ge41
|
Pholus
|
5Sa18
|
Hephaistos
|
5Ar21
|
Varuna
|
5Sc35
|
Heracles
|
5Aq41
|
OX3
|
6Pi52
|
EL61
|
6Aq56
|
SA278
|
7Cp19
|
Mercury
|
7Aq29 r
|
Uranus
|
8Aq20
|
RR43
|
8Vi24 r
|
Vesta
|
8Vi37 r
|
(Midheav)
|
9Aq08
|
VQ94
|
9Pi09
|
Huya
|
9Pi09
|
FY9
|
9Cp11
|
QD112
|
9Aq32
|
QB243
|
10Ar07
|
OO67
|
10Li30 r
|
CF119
|
10Pi31
|
Chaos
|
10Sc35
|
Chiron
|
10Ta35
|
CY118
|
10Ar59
|
CR105
|
11Aq14
|
OM67
|
11Vi16 r
|
AW197
|
11Aq51
|
Neptune
|
12Cp11
|
96PW
|
12Le22 r
|
Sun
|
12Aq43
|
Saturn
|
12Li43 r
|
UR163
|
12Le46 r
|
MS4
|
12Ar55
|
Juno
|
13Ge03
|
Jupiter
|
13Ge28r
|
BU48
|
13Vi28 r
|
RP120
|
14Li26 r
|
RN43
|
14Ge41r
|
Crantor
|
14Sc43
|
Pallas
|
14Cp44
|
(Moon)
|
14Ta57
|
TC302
|
15Sa17
|
GM137
|
15Ge20r
|
Logos
|
15Cp26
|
UJ438
|
15Cp35
|
Asbolus
|
15Le50 r
|
KF77
|
15Ca55r
|
SB60
|
15Ge56r
|
Radamantus
|
16Sa09
|
Venus
|
16Pi19
|
Ceto
|
16Aq30
|
Damocles
|
16Cp30
|
RD215
|
17Li04 r
|
GZ32
|
17Ar04
|
AZ84
|
17Li10 r
|
Okyrhoe
|
17Ta39
|
Chariklo
|
17Cp53
|
Amycus
|
17Ar58
|
Ixion
|
18Ar07
|
FZ53
|
18Aq16
|
TO66
|
18Ca32r
|
GV9
|
18Aq35
|
PA44
|
18Ca50r
|
PJ30
|
19Ge09r
|
PB112
|
19Li24 r
|
Pluto
|
20Pi59
|
Thereus
|
21Ge05r
|
Pylenor
|
21Vi06 r
|
MW12
|
21Ta24 r
|
CO1
|
21Cp46
|
Echeclus
|
21Li46 r
|
Deucalion
|
21Pi53
|
Quaoar
|
22Ar02
|
Ceres
|
22Cp56
|
PN34
|
23Aq17
|
TY364
|
23Ca22r
|
TD10
|
23Vi33 r
|
Apogee
|
23Ta46
|
QB1
|
24Le01 r
|
Cyllarus
|
24Sc03
|
RL43
|
24Li06 r
|
Vertex
|
24Li14
|
RZ214
|
24Vi33 r
|
Flora
|
24Li34
|
XX143
|
24Ta36 r
|
WL7
|
25Ge28r
|
CO104
|
25Aq33
|
KX14
|
25Aq33
|
TL66
|
25Sc39
|
HB57
|
25Ta58 r
|
Orcus
|
26Li23 r
|
VR130
|
26Li31 r
|
Mars
|
26Cp36
|
SQ73
|
26Sc41
|
UX25
|
26Vi51 r
|
Nessus
|
27Ar11
|
Pelion
|
27Pi24
|
Bienor
|
27Vi41 r
|
TX300
|
29Ca21r
|
Teharonhi
|
29Ge36r
|
FP185
|
29Ar46
|
Focused Minor Planets
AW197 = 11 Aq 51
CR105 = 11 Aq 14
Sun = 12 Aq 43
96PW = 12 Le 22 r
UR163 = 12 Le 46 r
Saturn = 12 Li 43 r Grand Trine
OO67 = 10 Li 30 r
Jupiter = 13 Ge 28 r
Juno = 13 Ge 03
MS4 = 12 Ar 55 Sextile
Chiron = 10 Ta 35 T Square
Chaos = 10 Sc 35
_____________________
TL66 = 25 Sc 39
HB57 = 25 Ta 58 r
Mars = 26 Cp 36 Sextile
UX25 = 26 Vi 51 r
Orcus = 26 Li 23 r Semisextile
____________________
Eris = 2 Aq 03
Venus = 16 Pi 19 Semisquare
Node = 1 Ta 08 r Square
FZ173 = 1 Ta 25
GB32 = 0 Ge 42 r Trine
XR190 = 2 Cp 22 Semisextile
RZ215 = 2 Vi 27 r Quincunx
___________________
Varuna = 5 Sc 35
Mercury = 7 Aq 29 r Square
EL61 = 6 Aq 56
Heracles = 5 Aq 41
SA278 = 7 Cp 19 Sextile
Hephaistos = 5 Ar 21 Quincunx
__________________
Others:
RR43 = 8 Vi 24 r
VQ94 = 9 Pi 09
Huya = 9 Pi 09
Uranus = 8 Aq 20 Quincunx
Mercury = 7 Aq 29 r
FY9 = 9 Cp 11 Trine
_____________________
EL61 = 6 Aq 56
Mercury = 7 Aq 29 r
Heracles = 5 Aq 41
Uranus = 8 Aq 20
Pluto = 20 Pi 59 Semisquare
Varuna = 5 Sc 35 Square
SA278 = 7 Cp 19 Semisextile
Hephaistos = 5 Ar 21 Sextile
____________________________________
____________________________________
Perhaps, provisional keywords for AW197, CR105, 96PW, UR163:
Barbarously Simple
Epic
Heroic
Dramatic Human Struggle with Nature
Straightforward Sensibility
Cool Objectivity
Vigorous Realism
Naturalism
Integrity of Nature
Sinewy Design
Popular Stereotypes
Moralizing Earnestness
To isolate a motif in action
Grandeur of Themes
Strength of Designs
Steady Discipline
----------------------------------
Discrimination is a work in progress.
_________________________________________________
Posted to Centaurs (YahooGroups) on July 25, 2007
_____________________________________________________________
_____________________________________________________________
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