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".

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

Eastern Point Prouts Neck

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',

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.

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.

"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

_____________________________________

Assuming noon, converted to 16:44:16 UT by Astrodienst

Astrological Setting (Tropical - Placidus)

RIYAL Wed February 24 1836 UT 16h44m16s Lat42n22 Lon71w04 SORT ALL

Planet	Longit.	Latitude	Declin.	Const.	H.D.	Period	Inclin.	O. Range
Uranus	0Pi47	0s43	11s53	Aqr	20.0	84	0.8
RR43	0Li51 r	28n51	25n56	Com	49.2	285	28.5	37.5->49.2
(Midheav)	1Pi35	0n00	10s55	Aqr
VQ94	1Ar36	55s05	48s14	Phe	149.5	2616	70.5	6.6->373.1
Huya	1Ar36	4s03	3s05	Psc	43.8	247	15.5	28.5->50.2
FY9	1Aq38	20s32	39s44	Mic	41.9	305	29.0	38.1->52.5
QB243	2Ta34	6n07	18n06	Ari	42.4	204	6.8	15.3->54.0
OO67	2Sc57 r	19n16	5n39	Vir	148.5	13019	20.0	20.8->1086
CF119	2Ar58	17n25	17n06	Peg	102.8	839	19.7	38.5->139.
Chaos	3Sa02	2s58	23s42	Sco	48.9	309	12.0	40.8->50.5
Chiron	3Ge02	4s24	16n28	Tau	13.9	49	7.0	8.4->18.4
CY118	3Ta26	20s52	6s59	Cet	105.0	864	25.7	34.7->146.
CR105	3Pi41	10s55	20s18	Aqr	103.8	3317	22.9	43.9->401.
OM67	3Li43 r	15s13	15s24	Crv	99.3	974	23.3	39.4->157.
AW197	4Pi18	15n38	4n39	Peg	48.1	323	24.4	41.1->53.1
Neptune	4Aq38	0n11	18s56	Cap	30.1	164	1.8
96PW	4Vi49 r	7n01	16n17	Leo	151.5	3581	29.3	2.6->465.5
Sun	5Pi10	0n00	9s38	Aqr	1.0	1	0.0
Saturn	5Sc10 r	2n37	10s48	Lib	9.8	29	2.5
UR163	5Vi13 r	0s27	9n11	Leo	57.3	372	0.7	37.3->66.3
MS4	5Ta22	0s56	12n27	Ari	36.4	271	17.7	35.7->48.1
Juno	5Ca30	14s50	8n32	Mon	2.2	4	13.0	2.0->3.4
Jupiter	5Ca55 r	0n10	23n30	Gem	5.2	12	1.3
BU48	5Li55 r	11n58	8n38	Vir	38.5	193	14.2	20.6->46.2
RN43	7Ca08 r	19s30	3n48	Mon	41.7	270	19.3	40.9->42.7
Crantor	7Sa10	10n10	11s30	Oph	14.6	86	12.8	14.0->24.8
Pallas	7Aq11	23n40	4n27	Aql	3.4	5	34.6	2.1->3.4
(Moon)	7Ge24	1n13	22n46	Tau	1.0	0	5.1
TC302	7Cp44	33s54	57s02	Tel	71.2	409	35.0	38.7->71.5
GM137	7Ca47 r	3n06	26n19	Gem	7.8	23	15.7	7.1->8.9
Logos	7Aq53	0n10	18s10	Cap	50.1	302	2.9	39.5->50.5
UJ438	8Aq01	2n35	15s47	Cap	25.5	74	3.8	8.2->26.9
Asbolus	8Vi17 r	8n27	16n18	Leo	19.9	76	17.6	6.9->28.9
KF77	8Le22 r	3n59	22n02	Cnc	30.8	133	4.3	20.0->32.2
SB60	8Ca23 r	0s45	22n27	Gem	44.5	275	23.9	37.9->46.6
Radamantus	8Cp36	12s35	35s44	Sgr	44.9	242	12.7	32.7->45.0
Venus	8Ar46	0s33	2n58	Psc	0.7	1	3.4
Ceto	8Pi57	4n20	4s13	Aqr	116.5	1014	22.4	17.6->184.
Damocles	8Aq57	8s18	26s01	Cap	15.2	40	62.1	1.6->21.9
RD215	9Sc31 r	5n21	9s36	Lib	107.3	1340	26.0	37.6->205.
GZ32	9Ta31	13s21	2n00	Cet	26.4	111	15.0	18.1->28.0
AZ84	9Sc36 r	7s18	21s36	Lib	34.1	248	13.6	32.5->46.5
Okyrhoe	10Ge06	16s07	6n02	Ori	6.9	23	15.8	5.9->10.3
Chariklo	10Aq20	4n19	13s30	Aqr	17.2	62	23.4	13.0->18.4
Amycus	10Ta25	13n10	27n24	Tri	32.1	126	13.3	15.3->34.9
Ixion	10Ta34	8s56	6n30	Cet	30.8	249	19.6	29.9->49.3
FZ53	10Pi43	23n07	13n50	Peg	32.6	116	34.9	12.3->35.1
TO66	10Le59 r	19n19	35n57	LMi	44.0	287	27.4	38.4->48.6
GV9	11Pi01	21n30	12n28	Peg	44.9	271	22.0	38.6->45.1
PJ30	11Ca35r	0n56	23n53	Gem	105.5	1383	5.5	29.0->219.
PB112	11Sc51 r	11s25	26s14	Hya	113.9	1108	15.4	35.3->178.
Pluto	13Ar26	16s51	10s13	Cet	47.5	248	17.2	29.7->49.2
Thereus	13Ca32r	20s58	1n54	Mon	13.6	38	20.2	8.9->13.7
Pylenor	13Li32 r	4n43	1s00	Vir	15.9	68	5.5	11.7->21.8
MW12	13Ge51r	20s48	1n49	Ori	42.8	311	21.5	39.4->52.4
CO1	14Aq12	15s58	31s47	PsA	21.5	94	19.7	10.9->30.4
Echeclus	14Sc13r	3n14	13s02	Lib	10.2	34	4.4	5.8->15.4
Deucalion	14Ar20	0s13	5n28	Psc	43.6	293	0.4	41.4->46.7
Quaoar	14Ta29	5s02	11n23	Ari	42.5	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

Saturn = 5 Sc 10 r Grand Trine

OO67 = 2 Sc 57 r

Jupiter = 5 Ca 55 r

MS4 = 5 Ta 22 Sextile

Chiron = 3 Ge 02 T Square

_____________________

Mars = 19 Aq 03 Sextile

UX25 = 19 Li 18 r

Orcus = 18 Sc 50 r Semisextile

____________________

Venus = 8 Ar 46 Semisquare

Node = 23 Ta 35 r Square

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

SA278 = 29 Cp 46 Sextile

Hephaistos = 27 Ar 48 Quincunx

Uranus = 0 Pi 47 Quincunx

Mercury = 29 Aq 56 r

_____________________

Mercury = 29 Aq 56 r

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

Saturn = 12 Li 43 r Grand Trine

OO67 = 10 Li 30 r

Jupiter = 13 Ge 28 r

MS4 = 12 Ar 55 Sextile

Chiron = 10 Ta 35 T Square

Chaos = 10 Sc 35

_____________________

Mars = 26 Cp 36 Sextile

UX25 = 26 Vi 51 r

Orcus = 26 Li 23 r Semisextile

____________________

Venus = 16 Pi 19 Semisquare

Node = 1 Ta 08 r Square

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

SA278 = 7 Cp 19 Sextile

Hephaistos = 5 Ar 21 Quincunx

Uranus = 8 Aq 20 Quincunx

Mercury = 7 Aq 29 r

_____________________

Mercury = 7 Aq 29 r

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:

Dramatic Human Struggle with Nature

Straightforward Sensibility

Moralizing Earnestness

To isolate a motif in action

----------------------------------

Discrimination is a work in progress.