render

Purpose

The renderer rebuilds Robert's chart wheel from his exact geometry, the virtual canvas of 640 by 480 with the centre at 430, 224, the scale km 0.95, the rings at 90, 128, 152, 165 and 182, the polar mapping w = nb(lambda + pi − fza) that puts the ascendant on the left, the axes reaching 188 with their labels just outside. The output is a backend neutral display list, one code path can feed the screen, an SVG file or a printer later, which resolves the original's three way moda& branching by design.

The sign band wears the colours as they actually appeared on his screen. His code asked for red, olive, teal and cyan, but the 48 colour palette and the hatch fills of deffi rendered salmon, green, a pale cyan grey and blue, verified against captures of the original running under emulation. The sign glyphs keep the white ground of his SRCCOPY sprite stamps as a small box on the coloured band. The true apogee Lilith and both birth rulers of geb_herr, the ascendant sign ruler and, when a whole sign lies intercepted in the first house, the ruler of that sign, sit inverted on a dark square, the whole sprite cell his SRCINVERT stamping inverted, the same in the aspektarium, the midpoint trees and the rhythm strip. The true node pair carried the same stamp in the original and the builder still offers it, but the shell draws the nodes as normal planets on the wish of the author's family. Retrograde bodies carry his red R, and AC and MC stack the rounded degree in sign below their tag like habes, DC and IC carry the bare tag.

The symbols themselves are his. The original shipped six size variants of every planet, sign and aspect drawing in symbbmp, loaded by Symbhol and stamped by putbm. The rewrite carries the large 24 pixel variants, upscaled with one scale3x pass that straightens single pixel stairs without inventing curves, and draws them wherever the original stamped a sprite. Every sprite is averaged down once to the exact device pixels it lands on and set on the pixel grid together with its ground, the bilinear stretch of the raster engine thinned his strokes when it shrank the large sprite twenty fold. Under each sprite lies a paper cutout so no line runs through a symbol, exactly the erasing his white sprite backgrounds did. The degree numbers and the R stand without a ground like his text in the TRANSPARENT mode, the white disc the port once laid under a number cut the sign band. They keep between the position marks at the sign band and those of the aspect circle. In the lower half of the ring his number below the glyph would cross the marks, there the glyphs rise straight up just as far as a number below the outer row of plentz needs, both rows alike so his spacing stands. A number that still finds no room stands above or beside its glyph on the first free side, an R turns to the first free corner, and the outer ring of transits and comparisons keeps its texts outside its own marks the same way. The paper of every sheet, the cutouts with it, follows CHART BACKGROUND, the warm paper of the theme unless white or a light colour of one's own was chosen. Each body also gets the two position marks of plein11, one at the sign band and one on the aspect circle, and the chords follow the ASPECT LINES rows of his aspz1. Every hit maps to a row, the first and last multiple of a divisor to its base row two to twelve, the compound multiples to the rows 13 to 19 from the biquintile to the quincunx, and each row carries a colour and a DEFLINE style. HORCOM's standard draws the opposition, square and quintile solid, the trine, sextile and the higher families dotted and the septiles dash dotted, in red, green, blue and black. His own profile ran the OWN SETTINGS of that screen, the colours and styles he picked per row, and the port starts with them. The conjunction is his red ring of radius 3 at radius 85, the Munich rhythm theory leaves the eighth and twelfth divisors out. Everything asp1 draws needs a divisor above one and the ecliptic frame, the chords, the inner position marks at radius 90, the blue dashed node line and the black dashed line of the Black Moon through the centre, so WITHOUT ASPECT LINES and the mundane frame leave all of them out. bes2 writes the name of the chart into the centre, RADIX, the SOLAR or SEPTAR label, COMPOSITE with its house method under it, 90° DIAL, Mundane under the name in the mundane frame, and nothing on the plain double wheel, the transit, clock, MULTI and direction screens keep their own centre text.

On screen the wheel sits centred on a square sheet, the record notes in the corner, since the coordinate and house tables live in their own panels now. The name rides top-left, the mode top-centre, the sidereal time top-right, and per the tester's v5 mockup the Place block, the moment block and the credit stamp share the bottom-right corner. The paired sheets of Composite and Combine follow the a13aus corners of the original, the first chart stands as a numbered name row in place of the Name: block, both rows with the whole name of his LEFT$(na$,20), the second chart stacks its name and moment as short rows above the bottom-left corner, the Combine adds its COMBINE UT mean there, and no row is wide enough to reach the wheel. A Combine of more than two writes RECORDS: with the slot numbers in place of the name and stacks the names there instead, its Place block names the stored mean place COMBIN-ORT with the mean coordinates. The Composite names its house method only in the centre like bes2_comp and keeps the Place block for the residence of ROBERT HAND, the other modes have no place of their own. With real houses its first cusp reads H1 and the AC midpoint gets a thick axis of its own, his two tags stood on one spot when the midpoint came close to the cusp, the port then stacks the AC tag above H1. The exported sheet of a composite drops the Vel. column and lists the AC row under H1 like bes111. The double wheel itself draws at the original a12 scale km 0.8 (multi and harmonics at their 0.82), so the outer house band and its axis labels stay inside the sheet instead of riding over the corner text. The export paths, SVG, PDF and printing, still produce his classic 640 by 480 sheet, the body table with velocities down the left margin, the house summary, the Mirror: pairs of spieg1 two to a row as MO-CH, and the record corners around the wheel on the right, one page and no separate table sheet. The body table runs like his bes11 from SO over DR into every extra body the wheel shows, AG, CH, QU, XE and whatever the planet selection adds, the first port stopped after DR. P marks SO to MA under parallax as his CASE 1 to 5 did, W or M the true or mean node and Black Moon, and GL carries no speed. With many bodies the rows shrink like under his vf! flag, just enough to keep the houses and the Mirror: pairs on the sheet. The left panel matches his HOROSCOPE GRAPHIC screen of 7P, the histograms of the older 5P screenshot on his web pages no longer stood there. The GUI hands its tinted sprite cache into the SVG writer as embedded images, so the export carries his symbols like the screen, while the Qt free CLI falls back to font glyphs. Both the SVG export and the command line wheel wear Robert Rettig's own colours and aspect lines, the same as the program window.

His text procedures gave every height a width of their own through textg, seven for the heights up to 14, eight for 15 and 16, ten up to 20 and sixteen up to 30, and stood each text on its bottom line (TA_BOTTOM). Every list and graph screen is laid out on these metrics, a heading centred as (640 - tw * LEN) / 2, a column rule where his cells end. One port of his routines in items.hpp builds the texts of these screens, screen_text for text and textc, screen_text_centred for textzent, screen_text_vertical for the upward texts and add_screen_text_boxed for the framed textzentrl. They take his y as the bottom line and carry his width as the pitch of the primitive.

The pitch is the room his layout gives a character, a ceiling. Where Courier New is wider, as from height 12 on, the face narrows to it. Where it is narrower, as for the small cell texts, it keeps its own advance, since his vector font stretched a height 9 text to seven units and ran the degree of an ASPEKTARIUM cell over the rule. text_advance gives that step. The painter narrows the face to it and closes the rest with a letter spacing, so every character steps exactly one cell whatever pixel size the view rounds to, and the SVG writer sets the same length. Boxes laid out around a text, such as the MULTI midpoint boxes, count with the same advance and hold their text. His windows clipped every drawing to their client area, and the screen and the printed page clip a sheet to its paper the same way, so a DYNAMOGRAMM curve or arc running past the frame ends at the edge instead of on the desk.

Origin map

Deliberate modernisations, each documented

Three parts of the original drawing cannot carry over literally, and the legacy analysis called all three. The flood fill of the sign band becomes explicit annular sector paths. His bitmap glyphs in six sizes become text glyphs, Unicode astrological symbols where they exist and his two letter tags where they do not, which realises the resolution independent vector symbols he himself prototyped in SYMBGEN. And the tiled screen dump persistence is replaced by real SVG export. The sign band keeps the colour modes of his COLOURS question, hatched standard colours, his own colours hatched or solid, or no fill at all with the sign symbols black or dressed in their element colour. His own profile hatched red, green, cyan and blue, which his screen showed as salmon, green, pale cyan grey and blue, and the band draws exactly those shades. Any other colour takes the ink share of the same hatch pattern, 45 percent for fire, 92 for earth, 13 for air and 73 for water, blended onto white. The aspect chords keep the rows of aspz1 with the blue dashed node axis.

The chart defaults

CHANGE HOROSCOPE DEFAULTS, his avh, sets how the wheel is drawn, and the display list reads every answer. SMALL SYMBOLS shrink the body glyphs to five sevenths, his plsyver half width of 5 against 7, and plentz11 staggers them at seven tenths, the sign glyphs keep their size. DEGREES and RETROGRADES writes the degree under each glyph and the R of a retrograde body beside it, ONLY the DEGREES drops the R, NEITHER OF THEM both, and the mundane frame shows neither like planziff1. The R marks every retrograde planet and extra body, never the nodes, in the colour of the outer symbols like planziff2. The outer symbols themselves wear that colour on the transit, TIME WANDERING and DOUBLE WHEEL rings, MULTI and HARMONICS keep them black. BEGINNING of the CHART turns the wheel like horbeg, the ascendant, the MC, zero Aries or zero Libra on the left, or any degree, the mundane frame and the heliocentric chart keep their own origin. The ASSIGNMENT of SIGN RULERS offers his NEW and OLD. The NEW is the tester's since the eighth batch, Pluto, Uranus and Neptune for Scorpio, Aquarius and Pisces with Quaoar for Taurus and Chiron for Virgo, the OLD Mars, Saturn and Jupiter with Venus and Mercury, and every reader of his ze_pl follows it, the inverted birth rulers of the wheel, the histograms, the Arabic parts, the rhythm theory and the statistics conditions. Where the chart or the dataset carries no Quaoar or Chiron, Venus and Mercury rule in their place (RulerSet, ruler_stand_in and carried_ruler in data/statist_eval), so a chart without the two reads like his NEW. His alt! lived for the session, the choice is kept in the settings under vorgaben/rulers, a 0 an earlier version stored for his NEW opens on the NEW of today.

His moknw! stamped the true node inverted like the rulers. The family asked for the nodes as normal planets and later for a cue that still tells the true node from the mean one without looking like the inverted true Black Moon, so WheelOptions::frame_nodes sets the node pair in a thin frame, framed_patch of render/wheel.hpp, the paper ground of the sprite cell and an outline on the same box (Primitive::outline). The painter snaps that box to the device grid once and draws the four sides as strips of one width, a hairline of one device pixel like his boxn on the screen that grows only on a far zoom or a printer page, and the SVG export strokes it inside the cell. The ASPECTARIUM and the MIDPOINT GRAPHIC take the same frame. The coordinate panel and the coordinate sheets give the true rows the dress of the wheel, the true node framed and the true Black Moon inverted, a square of the ink with the glyph in the ground colour, only the symbol, the cell stays plain (stamped_icon of apps/gui/painter.*). A table icon is drawn small, a frame scaled down from the 384 pixel sprite thinned to a fraction of a pixel and lost an edge, so the icon carries every side from 8 to 48 pixels drawn to the pixel with a frame one pixel wide. The row heads of the panel lost their vertical padding in the style sheet, it had cut every sprite down to the middle of the row.

His full sheets

The DOUBLE WHEEL, the 90 DEGREE DIAL, MULTI and HARMONICS show the whole sheet of the original instead of the centred wheel, the double wheel on the right and render/pair_sheet on the left. Two narrow coordinate columns like bes11 and bes111 in their dppel and mult dress, rows nine apart in size nine, "SO 12 AR 34" or with more than one extra "SO 12°AR 34'", the P of the parallax, M or W behind node and Black Moon, the fixed point red, the house cusps AC to H12, only AC and MC on the dial and in the zero point modes. Under them the comparison grid of a12asp, exact aspects included, the first body, the aspect sprite over the rounded separation and the second body in the colour of the outer symbols, rows 18 apart, four sub columns of 55, " MORE " where the page ends, the MULTI sheet four rows to a column. The DOUBLE WHEEL corners name INNER and OUTER with sol$, name, place, Lon and Lat, date and UT. The export takes the sheet as it is.

The transit double wheel

The a20 transit screen shrinks the wheel to km 0.85 and rides the running sky outside the signs, a tick marker on the sign ring at 182 and the glyph at 212, both with the same de clumping as the inner ring, the radix keeps its houses, chords and rotation, and the moment prints in the centre as TRANSIT with the date, just as zeitwi labelled it. The a12 comparison rides the same outer ring machinery at full scale, the partner's glyphs at 204 with markers at 180 and the partner's house lines drawn over the shared ring like the original's second horg11 pass, without a second set of axis labels.

The walks of TRANSITE, SEKUNDÄR and SONNEN-BOGEN draw his whole zeitwi screen as the TRANSITE screenshot of his own web pages shows it. The radix column of bes11 stands at the left edge and the running column beside it, headed Transit:, Progress.: or SO-Bog.Dir:, each with its cusps, the a12asp grid of the running bodies against the radix below them with the T or P over the running body, the name right of the rule at 220, the Ereig.-Ort of bes111 top right and the moment of the radix bottom right. The running AC and MC ride the outer ring as his AC and MC sprites with their degree, like every factor plein1(212) drew. A retrograde R that meets the number or glyph of a neighbour in a crowded stretch of a ring turns to the other side of its own glyph when that side is free, the glyphs and the numbers stay where plentz set them.

The 640 wide classic sheet of the exports and of the Rhythmenlehre keeps the place block where bes1 wrote it, at the lower left of the wheel, since the lower right lies inside the wheel there and met the IC label. The wider screen sheet sets it over the moment at the lower right.

The heliocentric wheel

The hrg mode carried its own look and the port keeps it. horbeg clears fza, so zero Aries anchors the left instead of an ascendant that a sun centred sky does not have, the whole horg11 house block stays dark, and horg1 marks the Sun as the small unscaled circle in the wheel's centre. The Moon's slot wears the crossed circle glyph of the Earth, the swap of pls&(2) for symbol twenty two in plsyls1, and the label line under the date reads Heliocentric like his settings screen.

The 90 degree circle

Under dop 4 the sign band collapses to the three qualities like the zein fill, three sectors wearing the first three element colours with the first sign of each quality as its glyph. Under his own colours the third sector keeps the hatch of air but wears the water colour, as his fill_color took it under dop 4. The dividers land on their shared boundaries, and only AC and MC survive as axes since DC and IC multiply onto them, aeqh blanks their labels. Everything else, rings, glyph ring, de clumping and chords, runs unchanged over the transformed positions.

The de clumping

plentz is ported as a whole, the sort along the wheel, the radial stagger of plus eight or minus fourteen units when neighbours come within ten degrees, the angular push apart within nine degrees with his three different strengths. One honest limit is kept, the original resolves a stellium in one pass and may leave a single touching pair in extreme cases, the port behaves the same and the test asserts the improvement rather than a guarantee the original never made.

The screen view

The screen widget adds what the fixed Atari canvas never could. The mouse wheel zooms around the cursor up to twelve fold, a left drag pans the zoomed sheet, a double click resets the view, and the export and print paths always see the whole sheet regardless of the zoom. The Planet selection carries his right mouse selection over, single bodies red or alone on the ring and the birth ruler highlighted like his inverse glyph. A body marked red leaves the dark square of the inverse stamp off and stands plain red, on the wheel, in the aspectarium and in the midpoint trees alike, and also where the rhythm phase would stamp it once more. His bmp_color_pl painted the red sprite through the SRCINVERT stamp, red on a cyan square on his screen, and the rewrite showed red on black, which the tester found hard to read and asked to be plain red. Which aspect lines the wheel draws is set where he set it, in the ASPECT LINES screen of CHANGE HOROSCOPE DEFAULTS.

The rhythm theory strip

render/rhythm_panel draws the left strip of the GRAPHIC mode of his a17, one phase at a time beside the classic wheel. The time axis stands at x 101 from the phase start at y 416 to its end at y 80, rhythm_axis_y maps an age onto it like his c3&. The direct and ruler triggers carry their date or YR/MO text and the body glyph left of the axis, the rulers inverted unless they also stand in the phase's house, as his note on the screen says, the aspect and mirror partners stand right of it with the aspect sprite or his S and the glyph of the body that pulled them in. Every label keeps its tick at the exact height while rhythm_label_rows pushes the labels upward sixteen pixels apart like a17911. The wheel itself takes two options for the phase, phase_house arcs the house in red at radius 154 like a1795 and flip_inverted stamps the phase's rulers once more like his plinv, so a birth ruler that rules the phase turns back to plain. Pinned in test_render.cpp.

The linear graphic

The life diagram in the manner of R. Ebertin, ported from a18_lin and a180trpr_lin as one more display list. Every radix factor becomes a horizontal line at its position folded by the chosen base angle, his three colour classes on the lines, the running bodies of the chosen movement trace curves over the time axis, secondary, sun arc, moon arc or transits, and every crossing is a direction becoming exact. The curves split cleanly at the fold wrap like his edge interpolation, glyphs stamp along the path with his collision memory, and a sign beside every glyph when the signs are marked. The time axis runs in his pixel steps, 16, 4 or 1 pixels a day for the transit windows of one, four or sixteen months opening on the first of a month, 96 down to 6 pixels a year for the life windows of 5 to 80 years, with the month names, the red day numbers and his day ticks under the band, each date standing over its own tick, or the years of life with the birthday of each year beneath. The degree scale of skalv runs up the left edge, the header of a18kopf names the movement, the record and the start. Every exact hit of the table scan stands on its radix line with the aspect sprite, and with his hit lines a vertical line runs from it down to the axis in the colours of his rot_grn_line, solid red for Mars and Saturn to Pluto, dotted green for the lights, Mercury, Venus, Jupiter, the nodes and the axes, dotted blue for the rest, and in the mundane graph red only where both bodies are heavy, while the fixed grid draws dotted green columns instead. A click on the graph drops his blue or red reading line. The graph draws no stationary marks, no moon hits on the four and sixteen month axes, no hits of the true node or the true Black Moon and no Part of Fortune curve for the transits and the secondary direction. linear_sign_lines folds every sign boundary on its own, his loop multiplied the first folded boundary and under 45 degrees kept only one line. The linear graph of MUNDANE ASPECTS draws the running bodies without radix lines and marks each aspect on the first body of the pair.

Printing and PDF

The original asked OUTPUT on the SCREEN or as a PRINTER GRAPHIC and drove a GDI printer context through the same drawing procedures. The port keeps that shape with one shared painter, the primitive loop lives in paint_display_list and feeds the screen widget, the printer and the PDF writer. DIN A5 prints the classic sheet, so whatever the wheel currently shows, radix, transits, a comparison, the 90 degree circle, prints exactly as drawn. DIN A4 is a4_print_sheet, the upright 640 by 980 page of his a11 with the wheel over the bes_big boxes, positions, aspects with the mirror contacts, house cusps and the three midpoint families. His position box held twelve extra bodies and cut the rest with a note that the wheel shows them all, the box here closes its rows up until every body of the wheel fits it.

Everything printed goes through his druck_einr_anz first, the box PRINTER READY ?, then his setup box naming the paper and the orientation, HARDCOPY - FORMAT : DIN A5 for a hardcopy, With 'SETUP' and SET UP and WAIT until the PRINTER WORKS !, and then the system print dialog. PRINT… runs the same setup boxes and the same page geometry as the PRINTER GRAPHIC of an output. A print that fails or is cancelled says PRINTER ABORTED like dr_fehl, only the record list returns quietly like his datei path. The pages keep his geometry, robert_page_rect maps the 640 by 459 screen at 0.8 points a unit from a twentieth of the printable width and a ninetieth of its height, about 180.6 by 129.5 mm, the a11 chart graphic starts at a fifteenth of the width, the full page HARDCOPY and the A4 linear graphic grow by 1.4 in landscape, and the a11 A4 page lies at 0.75 points a unit from a fourteenth and an eightieth. Every printed page carries the date and time behind its credit like drad2, a table without a credit gets the dradst line centred at its foot. The screen and the SVG export stay without the stamp so the golden comparisons keep holding.

His PRINTER OPTION rules the rest. His final defaults had it on for the printer at his desk, the port ships it off so no output stops at a box nobody asked for, PRINT and the PDF export print at any time. F8, Alt+D or Alt+Z switch it everywhere and the choice persists, the menu entry PRINTER OPTION ON / OFF of IN-OUT says PRINTER OPTION for HORCOM : ON !, and the DEFAULTS OVERVIEW shows the line and the hardcopy format in inverse video. While it is on, every output window of his menu offers the small HARDCOPY ? box at its lower right, his x 632 - 124 and y 458 - 52 with the frame of the system counted, so the box never hangs below the output or under the task bar, when a key leaves the page, Tab, Return, Space, PgUp, PgDn, R, V, plus or minus, and the statistics pages also W, S and H. NO keeps the focus, ESC, PgUp and PgDn answer it, F1 opens his COMMENTARY 2. YES prints the page on half a page or on the full page by the hardcopy format, the title reads | ON with SPACE and the bar at the foot of the page ON with SPACE or a mouse click until a key, the menu greyed meanwhile, and then the key does what it was pressed for. His converters, defaults, explanations and the tools of MISCELLANEOUS stay without the box unless a paired chart is up. HOROSCOPE GRAPHIC and the linear graphic ask SCREEN, DIN A5 or DIN A4 first, the three paired charts and the SOLAR and LUNAR tables SCREEN or DIN A5, and the screen answer then waits for a key with the HARDCOPY behind it. The tables print his three columns of 28 after Printing starts only after the COMPLETE list is computed !, the linear graphic asks FINE, MEDIUM or STRONG for the printer, and MULTI and HARMONICS end with Print the last picture as a PRINTER GRAPHIC in DIN A5 ? like druck_horm. With the option off the charts simply stand on the main window.

F9 or Alt+M is his DOUBLE PRINT. The first press in an output explains it and keeps the picture, the second keeps the second one, the third offers 2 SINGLE PICTURES PRESENT ! with CONTINUE = PRINT, CANCEL and CLEAR THE DOUBLE IMAGE STORE. The preview shows both pictures side by side, the page stacks them on DIN A4 portrait at the size of the half page hardcopy, and DELETE the DOUBLE PICTURE ? follows. While the store collects, no HARDCOPY box comes. The main window counts as his chart screen, F9 there keeps the chart. The text lists print like datei_pr and lese_text_pr, 53 rows a page in a bold fixed pitch font a sixtieth of the page high with the page number above them. His font forced a ninetieth of the width on each character and cut the long rows of the record list, the port narrows the pitch until the longest row fits, and his reader texts wrap at eighty columns first. The record list closes after its print, the COMMENTARY reader too.

His SHOW / or SAVE the LAST PICTURE of IN-OUT comes back as well. Every output window of his menu leaves its page behind when it closes, like scget kept the screen of the output, and the chart screen of the main window does after its wart, a chart that simply stood on the main window with the printer option off included. The entry shows that page again until a key, or says No output screen present yet ! and still offers the stored pictures, and then asks SAVE the picture in a FILE ?. Right after STATISTICS or TIME WANDERING his scrout! lock answers Not for this application ! once. SAVE keeps it in the folder bilder of the data folder, his \BILDER, a name already there says Name exists already !. Once pictures are stored LOAD shows one again and DELETE a picture shows one, deletes it and asks for the next while any remain, under his reminder to clear the folder now and then. His pictures were BMP files of the screen resolution with FORMAT.BLD refusing those of another one, the port keeps PNG files twice the size of his screen that any screen reads, so the format check falls away. F7 copies the window in front to the clipboard, where his program handed the screen to MSPAINT, and offers to save it as a PNG picture in the same folder. CLEAN UP / RESET clears the last picture and the double memory with the session data like his areg.

The A4 page also carries his two histograms, Card-Fix-Mut at the top left and Elements below the wheel, drawn like kard_fix_gem1 and elemhist1. Each class is a column fourteen units wide that stands sixty high at the group maximum, its sum above it and the class letter below. The counts come from chart_histogram with the pn point weights of punkte_pla and his two switches POINTS in the 1st HOUSE DOUBLE and 1st BIRTH RULER DOUBLE. The elem switch of CHANGE HOROSCOPE DEFAULTS picks the dress. Only for SIGNS draws the sign counts alone, For SIGNS and HOUSES halves the column and stacks the house count two units above the sign count, the number then carries both, and LEAVE OUT the HISTOGRAMS leaves both out. A heliocentric chart has no houses, so the second mode falls back to the full sign columns like his hrg branch. The aspect box of the page carries the asp1 histogram of asphist, a bar per counted divisor seventy units long at the maximum in his colours per divisor, the own line colours under OWN SETTINGS with grey for a row without colour, the count right of each bar and the sum under them, then the line and the mirrorings of spieg1. The columns wear the element colours in force, his own colours under OWN COLOURS and the standard ones otherwise, the three qualities take the first three of them like elem_col, and the WHITE modes leave the frames empty. A three digit total turns on its side over the narrow column and reads upward like his printer set it. One detail differs from the original, the family reads the mutable signs as changeable rather than mixed, so the third quality column says V and the heading Kard-Fix-Ver, the initials of the German words, instead of his G and Gem.

The command line front end

apps/cli builds the horcom executable. It takes a date, time in UT, place and the calculation switches, prints the coordinate table with the sign tags of his zei$ table, the houses and the aspect counts, and writes the wheel as SVG on request. The first wheel it produced cross checked against the book, the Sun of 1992-10-13 landed within seconds of arc of the Meeus example advanced by three hours of daily motion.

Verification

test_render.cpp checks that the ascendant label sits on the left horizon, that the list carries exactly twelve sectors and three rings, that every glyph stays on the canvas, that the 1962 Aquarius stellium separates strictly better than the raw ring and to at most one touching pair, and that the SVG document is well formed with sectors, rings and the Sun glyph present.