Frank Gutierrez’s artwork Once Again (Una vez mas), was displayed among works that Darry Sheets put up on auction after buying a locker in an episode of Storage Wars. Gutierrez also made a lithograph of this painting, adding fighter jets in the sky (see below). He is much lesser known, and his style is less consistent and less recognisable, than the more prolific music album illustrator Rudy Gutierrez (see another post, on http://www.mindprintart.wordpress.com).
The dominant general theme in Gutierrez’s Once Again, is revealed by extra features of type 10 Teacher, typical of raised arms (here of five characters), staff (two flag-posts), hunt-master (president and three forces commanders), guard (three forces commanders), and council (thee in argument). Type 10 expresses balance, as in its mytho-astro version of Libra, but here the theme of balance is as ironic as the conscious theme of national protection and defence. The canvas speaks of the Biblical ‘war and rumours of war’, and the threat of war to end all wars. Below is a list of the types that the characters express, in peripheral sequence, in the standard structuralist analysis format named mindprint (after Furter 2014).
Type Label; Character (noting archetypal features):
2 Builder; Buffalo (bovid) on a spoof flag (twist) inscribed ‘California’. The real state flag has a star and bear, inscribed California Republic, since it started as a briefly illegal gold rush immigration occupation of a Mexican territory in 1846, named Bear Flag Revolt. The flag could refer to Santa Catalina Island and Gulf at Los Angeles, formerly of the Tongva tribe, then of Spain, Mexico, pirates, smugglers, and private owners, now a tourist resort. The ‘Vanishing American’ movie crew took some bison to the island in 1924. The spoof flag is on a bench, before terror or war smoke (ruin).
2c Basket; Air Force or policeman clown (hat, weapon) with pistol.
3 Queen; Defence commander (sacrifice).
4 King; Politician? At bench (squat, rectangle) in front of inferno (furnace).
5a Priest; President (assembly), perhaps George W Bush, or aide with briefcase of nuclear launch codes (tailcoat head, weapon), wearing a USA flag (vari-coloured) cape, hand under jacket as Napoleon.
6 Exile; Priest (more typical of 5), at coffin (sacrifice).
7 Child; Forces clown (juvenile), eyes closed (eyeless). And USA flag (unfold).
15 Maker; Toy pistol (weapon, smite), as on left (doubled).
15g Gal.Gate;Forces badge.
Axial centre; Unmarked as usual.
4p Gal.S.Pole; President’s jaw (limb-joint).
11p Gal.Pole; Homeless man’s elbow (limb-joint). The galactic polar axle is near the vertical plane.
Midsummer; Force member’s shoulder (limb-joint).
Midwinter; Force member A’s elbow (limb-joint).
This solstice axle places summer between axes 15-1, analogous to Gemini-Taurus, thus spring and the cultural time-frame is in Age Pisces-Aquarius, our current Age (since 2016, as explained in Furter 2014: Mindprint). These markers are confirmed by the types of the two top central characters. This transitional framework was slightly ‘prophetic’ for the artist, but works aimed at social reform often find expression in transitional time-frames.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Frank Gutierrez’ Once Again poster flips the structure around
Most artists instinctively re-design their works for use in different media, and avoid making exact copies of their works, partly since hand-made copies could affect the integrity of the axial grid. Most engravings in the Renaissance and industrial era are also re-designs, such as Cibber’s engraving of the Great Fire of London, versus his bronze plaque of the same theme for Nelson’s column (see Stoneprint Journal 4; Stoneprint tour of London, available from Lulu.com, or see extracts on http://www.mindprintart.wordpress.com and on www.stoneprintjournal.wordpress.com).
The poster flips the structure left-right, and re-designs it, making a new work and a new mindprint. There are few structuralist co-incidences between the painting and the poster:
Type 2 Builder as flag; v epaulette or jaw.
President’s briefcase with nuclear launch codes as type 10 Teacher or balance; v 14 Mixer or transformation.
President’s jaw as Galactic South Pole marker; v Summer or Celestial Pole marker.
Time-frame of Age Pisces-Aquarius; v Age Taurus-Aries, more common in alchemical works.
The theme of deja vu in the conscious and semi-conscious political behaviour that enables societies and nations, ironically parallels recurrent features in the subconscious ‘grammar’ or ‘genetic code’ that enables nature and culture.
The nonsense limerick poem Hunting of the Snark demonstrates several ironies, apparent contradictions, and hidden meanings. The quest is an analogy for scientific exploration and British empire enterprise; both could be imagined in the dock on charges of Trespass, Libel and Contempt as in Barrister’s dream. Author Lewis Carroll (1876) is the pen-name of Oxford mathematician Rev Charles Lutwidge Dodgson (d1898), who also wrote maths papers and books, and was a deacon, but not a full priest. This post applies archetypal structuralist analysis to the Snark for the first time, to demonstrate how Henry Holiday’s illustrations subconsciously express apparently different, yet structurally standard versions of universal archetypal layers. The artist added Hope and Care (or ‘With’) to the crew of ten, probably from a subconscious compulsion to complete the minimum number of characters required to express archetype.
Britain, a legacy of Rome despite her abandonment in the Dark Ages of AD 400s to rival raiders and local kings such as Arthur, regained Roman culture after the Norman conquest. The eventual nation of shopkeepers, brokers, bankers and explorers feared disorder and chaos, as psychological defense against personal annihilation (after Kelly). Religion and science have taken turns in shoring up a sense of order. Bellman’s Rule of Three; character names all starting with B; jaunty rhyme and meter; and a tragic-comic format, all attempt to impose some order  and meaning on the apparent chaos of lefend. But motifs in legend, poetry and art is never random or meaningless, and usually recurrent (Thompson1928, 1961. Uther 2011. McCormic 2011). Rigorous analyses of three illustrations below demonstrate that many features of subconscious behaviour, perception, and meaning itself is now measurable in standard terms (see also ATU catalogue legends demonstrated in afterlife themes, in three posts on Oracle of the Dead, on http://www.stoneprintjournal.wordpress.com).
Nonsense style was also used by Thomas Hood; and in Gilbert and Sullivan musicals, such as Bad Ballads; and in early movies by Charlie Chaplin. Carroll was a satirist, and keenly aware of controversies between religion and science. Snarking once described a sound, perhaps of derision. Snarky once meant snappish, sarcastic, impertinent or irreverent; but recently back-formed again to mean mocking irreverence or sarcasm. The poem may have been inspired by the violent death of Carroll’s beloved uncle, Robert Wilfred Skeffington Lutwidge, inspector of asylums, by a violent patient (Torrey et al 2001), and other personal losses.
In the plot, a crew of ten tries to hunt the Snark, easily confused with the highly dangerous Boojum. Baker may symbolise the author, with his 42 boxes after Thomas Cranmer’s 42 Articles of religion, the last on eternal damnation. Baker finds a snark but vanishes in black ash, indicating that he found a Boojum, perhaps punished as Cranmer was burned; perhaps bafflement at finding laws of nature (Cohen 1995). Banker is attacked by a Bandersnatch, pays a ransom, but loses his sanity or logic.
Unwritten rules in nature and culture
Bellman, according to Carroll’s preface, follows obscure Naval Code, pathetically reading out Admiralty Instructions which none of the crew ever understood, “but fastened anyhow across the rudder”. Rule 42, the last, is ‘No one shall speak to the Man at the Helm,’ completed by the Bellman himself with ‘and the Man at the Helm shall speak to no one’. Thus Carroll indicates that the search for unwritten, inherent rules or laws of nature and numbers are part of his theme in Snark. Collective behaviour is indeed guided by a code that many sciences suspected, but no-one understood before 2010 (Furter 2014).
The present study of recurrent features in behaviour, to reveal archetype in nature and culture (Furter 2014; 2016), was inspired partly by the Mike Batt’s musical version of Hunting of the snark. In this idiom, from our own investigations and the bearings on the charts, now we could rise to remark that we think we may be gaining on the snark! There are hints of underlying structure in all media. Discovery that the subconscious expression of archetypal structure, or mindprint, could be measured and predicted, incidentally completes the quest for inherent order; and reveals that cultural identity is as universal as mathematics.
Henry Holiday pictured fables, allegories and church windows
Henry Holiday probably alluded to animals in a 1674 print of Aesop’s Fables, illustrated by Marcus Gheeraerts the Elder (British Museum; Satires 1047, reg. 1868,0808.3286), around king William III with allegorical Religion and Liberty (after Prof L Wolsogen, L; Fig 4/4). Holiday discussed with the author Carroll (Dodgson) possible allegorical depictions of Care and Hope. Holiday was also a stained glass window designer at Powell & Sons (with many designs for American churches), and friend of Rossetti. Tigertail Associates hired artist George Gennerich to restore Holiday’s wood engravings electronically, and partly colorise them.
Holiday’s Banker’s Fate illustration may refer to Image-Breakers by Marcus Gheeraerts the Elder; and to William Sidney Mount’s painting, Bone Player; and to a photograph by Benjamin Duchenne used for a drawing in Charles Darwin’s Expression of Emotions in Man and Animals. These visual citations together demonstrate that art design never replicates other designs; yet the illustration demonstrates again that all complex designs (of more than eleven characters) express specific, complex, universal spatial grammar, beyond the conscious capacity of any artist to learn or fake. Snark’s sections are named Fits, a pun on fitting rhymes to syllabic meters and pages. Structuralist analysis of the formerly invisible five layers of regular, universal features in the artworks, and probably in the character list, now adds another meaning to ‘fit’; artists have to ‘rhyme’ with the inherent structure in meaning and spatial relationships.
Carroll’s Easter sacrifice tragedy
Carroll re-uses a setting, some creatures, and eight portmanteau words from Carroll’s earlier poem, Jabberwocky, in his children’s novel Through the Looking-Glass (1871). The poem is dedicated to a young girl whom Carroll met at Sandown on the Isle of Wight, which he saw as an island of three monsters, “where the Jabberwock was slain”. In the first edition, he included a religious tract; An Easter Greeting to Every Child Who Loves Alice, perhaps to disguise the dark undertone of the pointless expedition, melting identity, apparently unjust punishments of life, and annihilation. Easter Greeting explores innocence and eternal life through Biblical and Romantic allusions from William Blake and William Wordsworth. Yet Easter is a spring sacrifice ritual, thus also a tragedy. Among many legacies of the Snark, are a graph theory; Snark Island in India’s Bengal Bay; Boojum Rock in Andaman and Nicobar Islands; and the excellent but failed 2-m dollar West End musical by Mike Batt.
Motley crew; it takes all types to make a story
The Hunting of the snark crew is listed here by proposed archetypal numbers and the types they probably subconsciously express in Carroll’s text; all named starting with the letter B:
2 Builder; Billiard-maker (builder), skillfull (hero). Or 9; 2v9.
2c Basket; Bandersnatch or subconscious, takes ransom and sanity (monster).
3 Queen; Butcher, math and geology, kills (sacrifice) only beavers.
4 King; Care or ‘With’, a Pandora, added by the artist.
5 Priest; Hope or Britannia, added by the artist.
6 Exile; Bellman, leader (exile).
7 Child; Broker, appraises goods, Jewish.
07g Galactic Centre; ??
9 Healer; Bonnet-maker (lid), hood-maker. Or 2; 2v9.
Midsummer and Midwinter; Boojum, deadly illogic [3 12], invisible, confused with snark since it moves with time.
Dominant type 5 Priest, of assembly and ritual
Dominant general themes in Holiday’s illustration of Lewis Carroll’s Hunting of the Snark crew or Britannia parade, are revealed by extra features of type 5 Priest, typical of assembly, hyperactivity, ritual, ceremony (here including speeches in the text), sashes (robes) and water (implied by the naval crew); and its opposite type, 13 Heart, typical of weapons (pitchforks and a pitch fork, or tuning fork), war (implied colonisation), bravery and water-work (here implied by a beaver and anchor). This type seems appropriate to part of Rev Carroll’s own identity as a Deacon, and to the conscious theme of colonial and scientific exploration, including vague unease of venturing into foreign territories and somewhat taboo fields of science. Some authors have suggested a theme of search for happiness; or of USA independence and its motto of ‘pursuit of happiness’ as a tragedy for Britain.
Secondary general themes in the Snark parade illustration, include types 5c Basket Tail, typical of oracle, revelation (a vague monster or treasure), and maze (uncharted excursion); and 9c Basket Lid, of hats, instruments, enforcement, and metal (pitchforks, blunderbuss, anchor, sword); and 10 Teacher, of raised arms, staffs (pitchforks, anchor, blunderbuss, tripod), hunt-master (Bellman), guard, market (implied colonisation), council and school (Barrister’s toga); and type 15 Maker, of rope, order (names starting with B), bag, mace, sceptre (empire), doubling (Barrister and Banker resemblance), face (personalities as on coin ‘heads’, obverse of Britannia as ‘tails’). Missing from the illustrations are Boots the invisible cobbler, who may be a subconscious snark; and Baker, missing since attempting to unravel a conundrum; and Boojum, perhaps incomprehensible ultimate reality or archetype itself. This list below reports the characters in the parade illustration, in the standard structuralist anthropology archetypal cycle format.
Type Label; Parade character (noting archetypal features):
2 Builder; Bonnet-maker? with a fork.
3 Queen; Butcher? (sacrifice) with a chopper?
4 King; Care? in cloak.
5 Priest; Hope? or Britannia (assembly) as emblem (ritual), with anchor (hyperactive, water) and sword (weapon, of 13 opposite); her right eye.
5c Basket Tail; Bell (time, of 6v14). And anchor blade.
6 Exile; Hope? or Britannia, near the axial centre (ingress) with anchor (U-shape); her left eye. And Bellman with bell (U-shape).
7 Child; Anchor point (eyeless, rope implied), as emblem (mace).
7g Gal.Centre; Banker’s top hat (vortex). And anchor point (juncture).
9 Healer; Banker (metal) carrying (bent forward, strong) blunderbuss (metal), tripod stand (pillar) and pitch or tuning fork (metal, trance), a pun on pitchfork; his right eye.
10 Teacher; Banker (balance, metal) or Broker (trade), with pitch-fork or tuning fork (metal, ‘balance’) raised (arm up), tripod (staff) and blunderbuss (hunt-master, guard, metal); his left eye.
11 Womb; Midriff (womb) of Hope? or Britannia (water, law), implied British lion (felid).
12 Heart; Beaver (water-work), OFF THE GRID.
13 Heart; Barrister’s chest (heart), carrying a pitchfork (weapon, war).
13c Basket Head; Barrister’s beard (weave).
14 Mixer; Anchor ring, NO EYE, nearer the centre (ingress).
15 Maker; Barrister (order) with wig (ropes), in toga (bag), carrying pitchfork (mace), striding ahead (rampant), with a large face (face), resembling Banker (doubled).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Britannia’s ear?
11p Gal.Pole; Anchor’s cross-bar ruing (juncture). And sea-star (limb-joints) at Beaver’s tail (limb-joint). And Beaver, a lace-maker (rope is more typical of 7g) carrying a microscope.
Midsummer; Britannia’s front shoulder (limb-joint).
Midwinter; Hope’s hip (limb-joint). These solstice markers are on a horizontal plane. The polar triangles place midsummer in Gemini-Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the two types at top centre.
The snark crew parade analysis score is 45/68 archetypal features; 12/16 axial points; 4/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 71/100, minus 1 extra characters off the axial grid; total 70%, in the upper half of the average range of 40-80%. All structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Butcher and beaver calculate a song in Holiday’s snark art
Structuralist analysis of this illustration happens to co-incide with the theme of Butcher transcribing and calculating a Jubjub’s song, “or the sound of pencil on slate”, for his willing student Beaver. Carroll’s limerick is partly themed on a quest to find natural laws, identity and meaning. His tale has no resolution other than confirming baffling inexplicability, but his mathematics papers, and the present study, have better news. Snark episode illustrations, characters, and parts of the plot subconsciously express archetypal and thus natural and cultural order. In this context, the text acquires much more order than the rhyme, meter and plot provide.
“The thing shall be done! Bring me paper and ink, the best there is time to procure. The Beaver brought paper, portfolio, pens, and ink in unfailing supplies: while strange creepy creatures came out of their dens, and watched them with wondering eyes. So engrossed was the Butcher, he heeded them not, as he wrote with a pen in each hand, and explained all the while in a popular style, which the Beaver could well understand.”
The ‘strange creatures’ crowding into the story and the illustration repeats a motif familiar in religious art; temptation by delights and torments, usually shown with St Anthony (see a post on Oracles of the Dead Part II, on www.stoneprintjournal.wordpress.com). The illustrator was a church window designer by trade, thus well versed in religious art.
Dominant general themes in Henry Holiday’s illustration for the scene of the Butcher as author, artist and mathematician, include these types:
 4 King, of squat posture (here of nine characters), twins (here dragons, frogs, pigs, cats), rectangle (music boxes, books);
 6 Exile, of ingress (Beaver and Butcher near the centre), double-head (dragons, frogs, pigs, cats), reptile (dragons, frogs); and its opposite, 14 Mixer, of ingress (crowding in a narrow vale), transform (music to math), angel (winged rat, dragons, pigs), reptile, dance (of flying pigs);
 10 Teacher, of raised arms (here all twelve characters), metal (brass instruments, boxes), ecology (beasts), school (Butcher teaching Beaver math), carousel (dancing beasts);
 15 Maker, of order (books), doubled (dragons, pigs, frogs, cats), reptile, winged;
 2c v9c, 5c v13c Baskets, of instruments (music, writing), container (music boxes, ink-well), hat (Butcher’s beaver hat), or secret (Jubjub song and math score).
This artwork is remarkable for its general themes expressing the three known features that are ambiguous for being optional part of three or four types: reptile; winged; doubling (though it tends to take different forms in types 4, 6, 15). In addition, twinning and doubling is present in many visual citations of other artists as Kluge (2017) demonstrated. But canid of type 9, 10, 14, 15; and equid of types 3, 4, 5, are absent here. The known ambiguities are inherent in nature and culture, and appear at fixed average percentages, thus they are as archetypal and measurable as the unambiguous features, and the five layers of structure in spatial expression are.
Type Label; Maths music character (noting archetypal features):
2 Builder; Pig trumpeter A in orchestra (cluster).
2c Basket; Music box B (instrument, container) churned (arm-link) by dragon B.
3 Queen; Bellman (school).
4 KingA; Dragon B (twin), winged (‘bird’), on rock (squat) with music box (rectangle).
4 KingB; Rat flying (bird), squeezing ink.
5a Priest; Dragon (reptile, winged) with music box (hyperactive). These boxes may refer to religious articles of faith, as of Thomas Cranmer (implied priest).
5c Basket Tail; Music box A (container).
6 ExileA; Butcher (sacrifice), near the centre (ingress); inner eye, as bard, in beaver hat (sacrifice).
6 ExileB; Butcher (sacrifice), near the centre (ingress); outer eye (‘double-headed’).
7 Child; Young (juvenile) frog’s bag (bag, eyeless) with newspaper (unfold).
7g Gal.Centre; Bonnet (vortex?) on cat A.
9 Healer; Cat C tearing (strong) a bonnet.
9c Basket Lid; Books (reveal) on a war treaty (enforce) and absurdity.
The solstice markers are on the horizontal plane. The polar triangles place midsummer in 14-15 or Cancer-/Gemini; implying spring and the cultural time-frame in Age 3-2 or Aries-Pisces, confirmed by the top central position of types 3 and 4.
The analysis score in the Butcher’s math scoring illustration, is 36/68 archetypal features; 16/16 axial points; 6/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 68/100, minus 3 extra characters off the axial grid; total 65%, just above the universal average of 60%. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Barrister’s courtroom trial dream scene
Barrister’s courtroom trial dream illustration by Henry Holiday has only nine characters, thus fewer than eleven, and is considered a minimalist artwork, wherein some structuralist compromises, and fewer than 60% of the known archetypal features are expected. Some characters and some structuralist features are doubled, as in his Butcher music and maths lesson scene.
Main general themes in this courtroom illustration are types 10 Teacher, of arms up posture (here of five characters), hunt-master (prosecution), disc (two wigs, dram fog), council (court); and type 11 Womb, of womb (here or the sleeping Barrister), law (trial).
Type Label; Court character (noting archetypal features):
1 Builder; NO EYE, Keys (cluster, implied twist, tower, build, maze). And; NO EYE, Prosecutor’s left hand holding rolled (twisted) charge sheet (book).
2 Builder; OFF THE GRID Jailer (implied tower, build).
2c Basket; Judge’s wig (weave, shoulder-hump, hat). And bench (throne).
3 Queen; Barrister or judge (school?), representing the Crown (queen).
4 KingA; NO EYE, Prosecutor.
4 KingB; Advocate A.
5a Priest; Advocate B In tails (tailcoat head) judging (judge, assembly).
5c Basket Tail; Advocate C, between axes, as c-types are.
6 Exile; Advocate D, far from the centre (egress).
7 Child; Accused in dock (rope?).
7g Gal.Centre; Fog end (water).
8 Healer; Prosecutor’s right hand, in cloak (trance? See Tarot trump 9, Hermit in hood).
9c Basket Lid; Fog middle (lid) of a dream (reveal).
10 Teacher; Prosecutor (‘hunt-master’) with arms up (arms up) or prop (staff) holding wig (disc, council).
11 WombA; Sleeping Barrister’s (law) midriff (womb), under fog (water).
11 WombB; Sleeping Barrister’s (law) midriff (womb), under fog (water).
12 Heart; Sleeping Barrister’s chest (heart).
13c Basket Head; Sleeping Barrister’s wig (head, hat, weave).
The solstice markers are on a horizontal plane. The polar triangles place midsummer in 15-1 or Gemini-Taurus; implying spring and the cultural time-frame in Age 4-5 or Pisces-Aquarius. Pisces is confirmed by the top central position of types 4A and 4B.
The analysis score in the snark courtroom scene is 21/68 archetypal features; 14/16 axial points; 8/4 c-type sector features; 3/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 53/100, minus 2 extra characters off the axial grid; total 51%, in the lower half of the universal average range of 40-80%. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
See a list of currently known optional archetypal features in other posts.
Some sources and references
Carroll, L. 1876. Hunting of the snark. London; McMillan
Cohen, M. N. 1995.Lewis Carroll: A Biography.Macmillan
Furter, E. 2014. Mindprint, the subconscious art code. USA: Lulu.com
Furter, E. 2015a. Gobekli Tepe, between rock art and art. Expression 8. Italy: Atelier Etno
Furter, E. 2015b. Rock art expresses cultural structure. Expression 9. Italy: Atelier Etno
Furter, E. 2016. Stoneprint, the human code in art, buildings and cities. Johannesburg: Four Equators Media
Furter, E. 2017a. Recurrent characters in rock art reveal objective meaning. Expression 16, June. Italy: Atelier Etno
Furter, E. 2017b. Stoneprint tour of Paris. Stoneprint Journal 3. USA: Lulu.com
Paris Notre Dame medieval cathedral has a rich texture of legend, icons, allegory, symbols and ritual in its reliefs, sculptures, rose windows, tombs and artworks. This post is a virtual tour of the universal cycle of archetypes in the north-west portal relief of St Mary; the stained glass window of a Jesse Tree or ancestors of Christ (in the adjacent Holy Chapel); and the double axial grid in the cathedral’s floor plan of chapels, statues and tombs. Each of these imprints subconsciously express about 60% of the 100 known optional archetypal character features, sequence, axial grid, and time-frames. All complex artworks, buildings, and built sites express the same pattern.
The consistent presence of recurrent features in cultural media, is already demonstrated in large built sites such as Paris (Stoneprint Journal 3, Lulu.com) and London, with a smaller stoneprint in the London Tower site (Stoneprint Journal 4, Lulu.com). Inspiration sustains natural structure at several scales, including buildings, art, ritual, legends and alphabets (Furter 2019; Blueprint). This cathedral and its installation artworks compares in complexity with other religious sites and buildings of all ages, in Babylonia, Egypt, India, Europe, China, Mexico and Japan (Furter 2014; 2016; and Stoneprint Journal editions).
Archetype in Paris Notre Dame St Mary portal sculpture
The Life of St Mary portal relief on the stone tympanum (‘drum skin’) between the lintels above the north-west door in Paris Notre Dame cathedral, is divided into three registers. Her predicted life is symbolised by a library of prophetic scrolls, flanked by relevant prophets in the bottom register. The concept ‘library’ is one of the known recurrent features of type 11 Womb. Her death is illustrated in the middle, and her ascent to heaven at top. This carving subconsciously expresses about 60% of the 100 known archetypal features. And this installation artwork as a whole, also expresses type 5a Priest in the cathedral floor plan western stoneprint (see below). All complex buildings and built sites have similar structuralist expressions, testable by the stoneprint template of the natural structure or ‘grammar’ of meaning.
Themes of Build and Heal, King and Womb, Priest and Heart
Dominant general themes in St Mary portal of Paris Notre Dame, are revealed by extra features of six types on three axes:
Types 1 /2v8/9 Builder v Healer, typical of twisted postures (here of two kneelers, two outer apostles), cluster (angels, apostles, prophets), tower (registers and ranks), ruin (death), hero (ascended), book (scrolls); opposite bent-forward (two apostles over St Mary), pillar (eight in the bottom register), heal (ascended).
Types 4v11 King v Womb, of squat postures (here fourteen seated), king (queen of heaven crowned), twins (two angels in heaven, two angels over Mary); opposite womb (St Mary is pictured twice), tomb (central casket), interior (portal), library (scrolls, and apostles including gospel authors).
Types 5a/b v12/13 Priest v Heart, of priest (thirteen apostles), assembly, horizontal (Mary’s body), winged (ranks of angels, and four in the main panel); opposite death, rounded (lintels), angel (ranks).
Type Label; Character (noting archetypal features):
1 Builder; Apostle C (cluster, hero, book).
2 Builder; Choir angel D (cluster, ‘bird’).
2c Basket; Angel A with candle (instrument, container) at throne (throne). C-types are off the axial grid, but between specific axes.
3 Queen; Choir angel E (‘school’) nearest St Mary (queen).
4 King; St Mary enthroned (squat, ‘king’).
And angel crowning (‘king’).
5a Priest; Choir angel H (assembly, winged).
5a-5b; Angel B with candle (‘priest’), OFF THE GRID.
5b Priest; Choir angel J (assembly, winged).
5c Basket Tail; Three apostles (reveal). C-types are off the axial grid, but between specific axes.
6 Exile; Apostle L, near the axial centre (ingress).
7 Child; Apostle M.
7g Gal.Centre; Tree B (juncture).
8 Healer; Apostle N, leaning (bent forward) on his hand, probably a mendicant (heal).
9 Healer; Prophet E (trance).
9c Lid; Scroll B (reveal, weave), and staff (‘pillar’).
10 Teacher; Prophet D (teacher, council) with staff (staff) and scroll (school).
11 Womb; St Mary’s midriff (womb), in death (tomb). And church model (law, library).
12 Heart; Prophet C.
13 Heart; Prophet B.
13c Basket Head; Prophet A (oracle). And St Peter’s key to heaven (transition). C-types are off the axial grid, but between specific axes.
14 Mixer; Apostle A, at a tree (tree).
15 Maker; St Peter, ‘Rock’ (smite), with heaven’s key (churn, order, sceptre).
15g Gal.Gate; Tree A (juncture).
00 Axial centre; Unmarked.
4p Gal.S.Pole; God’s jaw (limb-joint).
11p Gal.Pole; St Mary’s elbow (limb-joint).
Summer; An apostle’s shoulder (limb-joint).
Winter; An apostle’s jaw (limb-joint).
The solstice markers are between axes 6-15 and 7-15, analogous to Capricornus-Cancer and Sagittarius-Gemini, implying spring and the cultural time-frame in Age Aries-Pisces. The top central position of ascended St Mary as type 4 confirms Age Pisces, the constellation where the spring equinox was at the time (and up to 2016).
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Archetype in the Paris Notre Dame Sainte Chapelle family Tree of Jesse window
The Paris Notre Dame side chappel stained glass window of the family Tree of Jesse, or ancestors of Christ, is signed ‘Didron 1864’ in the Mary panel (11 in the list below), part of a restoration of that year. Some authors identify this sleeping ancestor as Jesse, but the axial grid is on the character’s midriff, a feature that in 87% of artworks worldwide indicate type 11 Womb in the eternal cycle that all artists subconsciously express. Jesse is probably the large character to her left, sleeping on his arm.
The model for modern genealogical trees is the metaphor of a stunted tree for Hebrew ancestors in Isaia, which two New Testament gospellers extended to Christ. King David as ‘a shoot from the stump of his father Jesse’ (1Sam16:1) of Bethlehem, prefigures Christ as a fruit (Is11:1. Winzen 2012). David fights Goliath (1Sam17) with a sling and a stick, on behalf of king Saul, as Achilles fought enemies for Agamemnon, as Christ fought Rome and the devil with a cross. David’s friend Jonathan, a son of Saul, loses his inheritance and gives his royal cloak, sword, bow and girdle to David (1Sam18:3), as Christ took the burden of kingship under oppression, for his friends (Joh15:13). David in exile in the desert receives holy bread (1Sam21:3) and the sword of Goliath, as Christ is tempted by bread in the desert. David spares Saul’s life, as Christ forgives Rome (1Sam24:6, 26:9). David, ‘Beloved’, and Christ, ‘Anointed’, were both born in Bethlehem (Luk2:11), anointed (Mat3:17), shepherds (1Sam17:34), attractive (1Sam16:12), and loving. David’s body was seen as Israel’s bones and flesh (2Sam5:1), as Paul saw the sacrificed Christ. David fought to liberate Israel, as Christ incited rebellion for spiritual freedom and passive resistance. Similar features and episodes appear in all other religions and myths, in all ages.
Sala, Heber, Phalec, Ragau, Saruch, Nachor, Thara, Abraham, Isaac, Jacob, Judah A, Phares, Esrom, Aram;
Aminadab, Naasson, Salmon (Solomon), Boaz, Obed, Jesse, David, Nathan (another son of David), Mattatha, Menan, Melea, Eliakim, Jonam, Joseph A;
Judah, Simeon, Levi A, Matthat B, Jorim, Eliezer, Jose, Er, Elmodam, Cosam, Addi, Melchi, Neri, Salathiel;
Zorobabel, Rhesa, Joannan, Juda B, Mattathisas C, Maath, Nagge, Esli, Naum, Amos, Mattathias B, Joseph B;
Jannai, Melchi, Levi B, Matthat C, Heli, Joseph C carpenter, Christ.
Matthew’s genealogy involves gematria or number values of the name David.
SetA has annotations, including four mothers or queens, noting brothers of Judah, and the brother of Perez.
SetB is the Davidic royals, omitting some generations, ending with “Jeconiah and his brothers of the exile in Babylon.
SetC has thirteen generations, Joseph to Zerubbabel, via unknown names in Greek versions of Hebrew, as in the Septuagint, but with some peculiarities; Asaph for King Asa also refers to psalmist Asaph. Amos for King Amon also refers to prophet Amos, although the Septuagint does have this form. Both may assimilate familiar names. Unique forms are used in Boes for Boaz /Boos; Rachab for Rahab /Raab.
Matthew omits three consecutive kings of Judah: Ahaziah, Jehoash, Amaziah, considered wicked, of the cursed line of Ahab via his daughter Athaliah to third and fourth generations. He omits Jehoiakim/n, father of Jeconiah, Greek Joachim, noting “Josiah begot Jeconiah and his brothers at the time of the exile.” Jehoiakim had brothers, but not Jeconiah of the time of exile. If Josiah’s son was intended as Jehoiakim, then Jeconiah could be counted after exile. Or Matthew had a Joseph as father of Mary, and another Joseph as husband, or perhaps father-husband, as in Egyptian practice.
Fourteen generations span from Jeconiah about BC 616, to Christ BC 04 or BC 07, if a generation were 44 years. The Old Testament has wider gaps, indicating omissions, perhaps of repeated grandparents’ names.
The New Testament says St Mary was also of the stem of Jesse. Fulcanelli noted that Hebrew ‘Jes’ means fire or sun, a royal symbol.
Themes of Build/Ruin, Sacrifice, Ritual, Weave
Dominant general themes in the Paris Notre Dame Tree of Jesse window, are revealed by extra features of types on several axes. Integration of conscious ‘programmes’, semi-conscious symbolism, and subconscious archetypal structure, indicate cultural maturity.
Types 1 /2v8/9 Builder v Healer, typical of twisted postures (here of nearly all the characters), cluster, hero, book (of prophets); opposite bent forward (five characters), strong (spiritual strength), disc (medallions format), trance (Jesse and Mary sleeping, Jacob and Moses and prophets’ visions).
Types 3v10 Queen v Teacher, of sacrifice; opposite raised arms (almost all the characters), staff (two staffs, two sceptres, and a ladder), metal (crowns), disc (medallion format), council (ancestors’ legacies).
Types 4v11 King v Womb, of squat postures (nearly all the characters), king (six); opposite womb (St Mary in foreground), tomb (ancestors), library (implied prophetic books).
Types 5a/b v12/13 Priest v Heart, of colours (stained glass), priest (priest-kings), assembly (ancestors recalled); opposite felid (house of Judah, lion icon), rounded (roundels), war (or conquest or defence), ancestor (the main theme).
Types 2cV13c, 5cV13c Basket, of weave (tree texture), container (roundels), tree (the main metaphor), reveal (oracles fulfilled), maze (columns and rows). C-types are off the axial grid, but between specific axes.
Type Label; Character (some of their archetypal features):
1 Builder; Ancestor (hero) turning (twist) from temptation.
2 Builder; Ancestor (hero), turning (twist).
2c Basket; A king (throne) with a staff (instrument, arm-link).
3 Queen; Ancestor thinking.
4 King; Christ (king) sitting (squat) with a lamb (ovid) outdoors (field).
5b Priest; Ancestor (assembly).
5c Tail; Item held by 5b (weave?, container?, tree?, reveal?).
6 Exile; Ancestor, probably a traveller, with pointed cap, with two angels or sons.
7 Child; God’s face (‘beheaded’) appears (unfold) to Moses in a cloud (‘bag’).
And a king with a sceptre. See also Midwinter below.
7g Gal.Centre; Moses kneels (bent, of 8) on Sinai.
And apparition (juncture) on Sinai.
8 Healer; Jacob (trance) carrying (bent, strong) a ladder (‘pillar’, trance), with angel. Ladder was also an allegory for alchemy. At Bethel, ‘House of God’ (tower, of 1v8), he dreamt of a Gate (7g) of Heaven (Gen35:1), and an altar struck (1v8. As Tarot trump 1:16, Tower struck by lightning).
9 Healer; Ancestor with staff (‘pillar’), predicting (trance) St Mary and Christ child in a halo (disc).
9c Lid; King David playing (arm-link) harp (instrument, weave), singing (reveal), warrior for God (enforce), with crown (disc, ring, hat, metal).
10 Teacher; Jesse, father of David, sleeping (trance, of 9c) on his arm (raised arm), wearing a cap (disc). Largest character, since the entire window is his family ‘tree’ (‘staff’, ‘ecology’).
11 Womb; St Mary’s midriff (womb), sleeping, impregnated (womb) by Holy Spirit.
12 Heart; Noah’s chest (heart), with model Ark (water-work).
14 Mixer; John Baptist (transform), foretelling (time) Mary’s godly child (transform). His disciples were Essenians. His anointing as Forgiver was announced by arch-angel Gabriel (Luke1).
13c Head; Vision (oracle) cloudburst (‘container’, weave) of Mary and Christ child. C-types are off the axial grid, but between specific axes.
15 Maker; An ancestor (maker) with scroll or charter (order).
And a king… nearest the axial centre (ingress).
00 Axial centre; On the central frame (juncture).
4p Gal.S.Pole; A king’s grail (water, juncture) and hand (limb-joint). In star lore, Grail is Crater, at 11p opposite 4p.
11p Gal.Pole; King Solomon’s hand (limb-joint). And his Temple model (juncture).
Midsummer; A king’s jaw (limb-joint).
Midwinter; A king’s jaw (limb-joint).
The ‘solstice’ axle is on the horizontal plane, on axis 7-15, analogous to Sagittarius-Gemini, implying ‘spring’ and the cultural time-frame in Age Pisces, confirmed by the top central position of type 4 or Pisces as shepherd.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Some of the ancestors of Christ are also embodied by a row or gallery of statues of Kings of Judah on a façade at Notre Dame de Paris.
Archetype in Paris Notre Dame Choir or east floor plan
Paris Notre Dame cathedral stands on City Island, forming a natural and intuitive ‘womb’, ritualised by the site of several pagan temples. The first Gaul settlement in the area was on City Island, a kind of ‘womb’ of Paris. St Denis (see 10 and 11 below) and two companions lived on the river island when Roman Lutetia, ‘Muddy’, was on higher ground on the south bank. The island also once hosted Salt Hospital with a maternity ward (womb), and a prison for 300 prostitutes (‘womb’), as part of the subconscious expression of the Paris axis 11 Womb, the global features of which include ‘womb, interior, tomb, law, and/or library’. The island also had a gunpowder (war) factory, expressing part of the type 12 heart axis over the north-west end of the island, and a mental hospital. The island also hosts the Palace of Justice (law), subconsciously expressing one of the frequently recurrent features of type 11 Womb. The feature ‘law’ also finds expression in the classical icon of Justice as a woman, and in Tarot trump 11, Justice (Stoneprint Journal 4; London stoneprint tour. Several London courts are on its type 11 axes).
The floor plan of Paris Notre Dame is oriented to two feast days, and to Sirius. This orientation is paralleled and thus duplicated in the later Louvre Museum building renovations and in the Champs Elysees. The floor axis bends slightly northward in the eastern half, perhaps necessitated by foundation remnants of the previous St Etienne cathedral under the eastern half, or by astronomical alignment to a St Mary date, or by restoration. This orientation defect apparently does not affect the subconscious axial grid. St Etienne is linked to St Mary in another Paris site, St Etienne du Mont, dedicated to Mary, later to John, holding relics of Ste Genevieve, ‘Kin-wife’, co-patron of Paris with St Denis. She is linked to Guinevere, whose relics were paraded to Notre Dame Paris to cure ergot disease from mites on crops. ‘Crops’ is one of the archetypal features of type 11 Womb, finding expression in the icon of a wheat ear for the brightest star in constellations Virgo, Spica, ‘Corn ear’. Ste Genevieve in legend was ‘adopted’ by the Roman Luteita, ‘Muddy’.
The orientation of the floor plan of Notre Dame Paris bends slightly northward in the eastern half, perhaps necessitated by foundation remnants of the previous St Etienne cathedral under the eastern half, or by astronomical alignment to a St Mary date, or by restoration. This orientation defect apparently does not affect the two subconscious axial grids. In addition to its own stoneprint, Paris Notre Dame also expresses type 11 Womb in the much larger Paris stoneprint (Stoneprint Journal 3, Lulu.com).
Many cathedral side chapels have huge oil paintings named ‘Mays’, donated with traditional decorated trees or poems in jewelled boxes on May Days. Many were hidden or destroyed in the 1793 Revolution. Craft guilds dissociated from Church and royalty, some disguised as Rosicrucians. The Restoration distributed remaining Mays paintings to museums, and thirteen to Notre Dame. These include Descent of the Holy Spirit, by Blanchard; Sons of Sceva defeated by a demon, by Elyas; St Andrew’s torture, by Blanchard.
Features of the nine secondary patrons of France include St Denis, St Martin of Tours, St Louis, St Michael, St Remi, Ste Petronilla, St Radegund, Ste Therese of Lisieux, and Ste Joan of Arc.
Tombs include Geoffrey II, son of king Henry II of England; Queen Isabelle of France, wife of Phillip II. Here is the list of the Paris Notre Dame floor plan eastern or choir characters, by their sequence on the usual axial grid, in archetypal sequence (noting some of their archetypal features in brackets. This section is a draft for a forthcoming Stoneprint Journal edition, with … gaps to be completed).
Type Label; Character (some archetypal features):
01 Builder; St Denis, who lived on City Island, now Notre Dame site (build). Executed by beheading, but carried his head (twist) to his gravesite, marked by a woman, or Ste Genevieve, with a chapel (build), later an abbey, later a basilica and royal tomb, later Saint-Denis city (cluster), now a suburb of Paris. French patron (hero). One of Fourteen Holy Helpers (cluster). Patron of Paris with Ste Genevieve.
And cathedral Treasury (cluster, tower), sacked in Revolution (ruin).
02 Builder; Tomb of Sibour (hero…
02c Basket; Tomb (container) of Lt-Gen Harcourt, d1769, of a Norman family. An angel (arm-link) with a torch opens the lid (container), Harcourt tries to unwrap (weave) himself to grasp the hand of his wife kneeling at his arms (weapon), as Marriage Reunion, Death skeleton holds an hourglass (instrument).
And tomb (container) of Ursins, ‘Bears’…
And St William…
And St Magdalene (priestess, of 2) holding ointment (instrument), probably spikenard, jar (container) or red egg (eclipse) for kings (throne). She is often shown repentant, on one knee (twist 2), weeping (rain 2), or in Sainte Baume, Holy Balm cave (container), or with Magdalene and Mary (queens, of 3) or eight women (cluster 2), taking myrrh to Christ’ tomb (container, secret), finding the stone rolled open (reveal), with a red egg, hairy (weave), with an open book (reveal), of three aspects (polar trio); sinner at Magdala (tower of 2); repentant and converted (transition) disciple at Bethany; and witness, apostle, emigrant queen (of 3). Trios in Judaism, Christianity and Islam, continue pagan polar trios. Three Allat, daughters of Allah, indicate a female Holy Ghost. In Varagine’s Golden Legend, Magdalene marries John Evangelist and moves to France with her brother Lazarus and others. C-types are off the grid, but between specific axes.
03 Queen; St George v dragon (dragon, long neck, sacrifice).
And tomb of Darboy…
04 King; King Louis XIII (king, ‘sun’), kneels (squat), offers crown and sceptre to Mary, flanked by Louis XIV (twins).
05a Priest; Louis XIV kneels toward Mary (,,,,colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).
05b Priest; High altar (priest, assembly, large,…
And heart (13v5) of Louise of Savoy, mother of Francis I, formerly under a copper tomb (13v5).
And sculpture of Pieta, Mary with Christ’s body (horizontal, death of 13v5).
05c Tail; Tomb of canon (priest 5) and poet (weave) De Belloy.
And St Marcel, Paris bishop (priest 5) of 300s. He killed a Seine river (water 5) snake (tail, reptile 5) by sceptre and wine (container, ritual 5).
And tomb of De Quellen ,,,,,, (,,,,,weave, tail, container, tree/herb, reveal, maze, disc).
And St Louis, King Louis IX, crusader (war, of 13v5), built Sainte Chapel for Christ’s relicss (container), died (sacrifice, of 6) in Tunisia. Generous to the poor, devout, humble, the only sainted French king.
06 Exile; Tomb of De Noailles…
07 Child; St Germain, a ‘son’ (juvenile) of St Vincent De Paul, like St Sulpice (doubled, 15v7). Or Ste Germaine, young (juvenile), stole bread in her apron (bag) for a beggar.
And Tomb of De Juines…
08 Healer; St Ferdinand…
And tomb of Beaumont…
09 Healer; Red Door (disc) chapel, stone relief of coronation (disc) of … by an angel (bent forward,
09c Lid; Chapel…
And St Martin…
10 Teacher; Door of St Denis. Executed by beheading on Montmartre, Hill of Mercury (market) and Mars, but carried his head (arms up. Beheading is more typical of type 7). The oriflamme on the French banner (staff) was consecrated on his tomb. Patron of Paris with Ste Genevieve.
And North Window…
11 Womb; Statue of St Denis, on the floor (interior). He lived on the river island (water). He carried his head to his gravesite, marked by a woman (womb) with a chapel (interior), later St Denis Basilica, vault (tomb) for kings. King Chilperic I buried his mother dowager, Queen Aregunda, at St Denis. He is patron of Paris with Ste Genevieve.
12 Heart; Modern Altar… central (interior)…
13 Heart; Mary and Christ child of Judah (lion, felid), holding a ball (rounded) at his chest (heart). On the floor (interior).
13c Head; Joan of Arc, one of nine minor patrons of France…
And St Therese of Avila, her emblems a heart (heart), arrow (weapon), book.
And Door of St Etienne…. The previous cathedral on this site was dedicated to St Etienne, is remains now beneath Notre Dame Paris west half.
And South Window…
And south tower and staircase spiral (container, maze) and dome (disc).
14 Mixer; Sacristy… far from the axial centre (egress).
15 Maker; Treasury (sceptre….
And tomb of Affre…
15g Gal.Gate; Treasury buttress (juncture).
00 Axial centre; Unmarked as usual, on the central axis (juncture).
4p Gal.S.Pole; Pillar (juncture) between altar Louis XIII.
And Six bronze angels with instruments of Christ’s Passion, at six pillars.
And Holy Sacrament (‘juncture’) chapel.
And Knights of Holy Sepulchre (tomb, of 13 opposite 5) of Christ, with fresco of Mary and St Nicaise, former patron of this chapel; and Crown (king, of 4) of Thorns. Atop this altar is St Mary of Seven Sorrows, holding Christ’s nails (juncture) and crown (king, of 4).
11p Gal.Pole; North Choir balustrade (juncture).
Midsummer; Central right third pillar (juncture).
Midwinter; Central left sixth pillar (juncture).
Midsummer is on the east-west latitude, on an axis between Leo and Cancer, implying ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the prominent position of type 2c St Magdalene among major saints and kings in the ,,,,ambulatory or eastern ‘head’.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Archetype in Paris Notre Dame Nave or west floor plan
The Paris Notre Dame nave or west floor plan expresses another stoneprint, linked or ‘geared’ to the choir or east stoneprint, by sharing three points. One of these shared features express the same type, and two express adjacent types: choir v nave 11v12, 13v13, 13cV14. Linked or doubled mindprints in art, or stoneprints in buildings or built sites, always contra-‘rotate’, meaning that their sequences run in opposite directions.
The Stations of the Cross artworks here, probably express yet another cycle, probably including some overlaps with the statues imprint, as they do in many cathedrals (Stoneprint Journal 6; Rennes le Chateau stoneprint tour). Here is a list of the main characters in the Paris Notre Dame nave or western half stoneprint (noting some of their archetypal features in brackets. This section is also a draft for a forthcoming Stoneprint Journal edition, with … gaps to be completed).
Type Label; Character (archetypal features):
01 Builder; Predicateur…
02 Builder; …
02c Basket; …
03 Queen; Christ (sacrifice, bent neck)…
04 KingA; South-west tower…
04 KingB; Portal of St Anne, ‘Favour, Grace’. Of miners (juncture, of 4p), of sailors v storms, of women, of cabinet-makers (rectangle 4). House of David (king). Childless, like Hannah who bore Samuel. Hannah in the Quran saw a bird (4) feeding its young. Married thrice (polar, of 4p), to Joachim, Clopas, Solomas, bore three daughters; Mary, Mary of Clopas, Mary Salomae, from Holy Spirit (polar trio, of 4p. After Weigel). Sister of Sobe (‘twins’), who was mother of Elizabeth who bore John Baptist, similar to Christ (‘twins’). Her emblem is a door (rectangle. juncture, of 4p). Of Immaculate Conception, described in Rev12;1 as “a great sign in the sky, a woman clothed with sun (sun)… crown (king) of twelve stars.”
05a Priest; Portal Last Judgement (judge, assembly, weapon) with angels (winged).
And West Rose window, central is Christ of Apocalypse (judge), sword (weapon, of 13v5) of truth from his mouth (jaw, an alternate type 4p), stars shining on his wounded hand. Over 16 prophets, centred around Ezekiel, Isaiah, Jeremiah, Daniel, carrying evangelists (priests) Matthew, Mark, Luke, and John.
And Paris zero point in Notre Dame catheral’s square (assembly). Formerly, here stood a pre-Roman pillar (9) attached to a pagan statue holding a book (2), with a serpent (reptile), until the square was enlarged in 1748. The pagan statue was nicknamed Gray Man, later Master Stone, of alchemy and masonry. Perhaps Hercules (5), or Asclepius of medicine (heal 9), or Guillaume [William] of Paris, or Ste Genevieve, or Terminus, Roman god of boundary stones and journey ends, or Mercury of travel and trade, or Hermes Thrise Great. A fountain (4p or 5) was added next to it in 1625, and the statue was inscribed: “Approach if you are transformed (14), and if my waters are not enough, go to the temple, and the goddess [perhaps Cybele of Maia] you invoke, will prepare eternal (time, of 14) waters for you.” The statue was also named Faster, or Seller of Fasts, promoting fasting and praying (priest) as a way to holy water (5). An anti-Royalist satirical pamphlet of 1649, against young king Louis XIV in cahoots with corrupt Cardinal Mazarin, was titled “An Oracle by the Faster of Notre-Dame”, listing remedies to ‘cure’ France of cardinals and kings. The pagan statue was replaced by the triangular marker with the emblem of Notre Dame. In the Austrian succession war, this became the zero point for measuring distances to military camps along milestones every 2km.
05b Priest; Portal St Mary (,,,, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).
And rose window of St Mary’s life, with zodiac and months labours (hyper-active, assembly).
05c Tail; North-west tower with staircase spiral (container, maze) and dome (disc).
06 ExileA; …
06 ExileB; Baptismal Font (U-shape), water as spirit (transform). The ritual is more typical of type 5.
07 Child; St Charles…
07g Gal.Centre; St Enfant (juvenile of 7)…
08 Healer; St Vincent de Paul, of charity. His emblems include children (juvenile, of 7). Pirates sold him to a doctor (heal) who was invited to Istanbul but died en route, so Vincent was again sold to an ex Franciscan priest of Nice, who had converted to Islam to live on a mountain with three wives. Vincent converted the second wife and escaped. Louis XIIIs Queen Anne made him spiritual adviser.
09 Healer; St Xavier or Sevier, emblems of crucifix (‘pillar’), bell (metal), vessel, crab. Missionary (reveal), Apostle of Indies, Indonesia, China, Japan. Basque noble. Athlete (strong), high-jumper (bent). Kissed an ulcer of a patient in Venice (heal). Visions (trance) of his future, his sister’s prophecy. Lifted a sick man who dies after communion but freed from fever (heal). Cured (heal) a man of sores. Resuscitated (cure) a boy in a well at Cape Comorin, a man buried at Coulao, and a boy about to be buried at Multao, and a child. Kneeled (bent forward) to cure (heal) a child on his shoulders. Cured (heal) a dumb and paralytic man in Amanguchi, and a deaf Japanese person. Levitated (trance) giving communion. One arm’s bones in Rome, one arm-bone (raised arms, of 10/9c) in Macau, moved several times. 1940s Spain feast of Javierada, annual day pilgrimage from Pamplona to St Xavier, restored family castle (pillars).
10 Teacher; Tomb of Landry…
11 WombA; St Clotilde (womb…
And tomb (11) of Yver, Canon of Paris and Rouen to 1467, crippled by gout, appointing Canon Duquesnay to vote for him in electing an archbishop for Rouen, with 43 priests, archdeacons, canons.
11 WombB; Cloister Door (interior…
12 Heart; Statue of St Denis, on the floor (interior). He was beheaded (death) by sword (weapon) on Montmartre, Hill of Mercury and Mars (war), but carried his head (‘heart’, ‘invert’). Where he stopped, became St Denis Basilica, later vault (tomb) for kings. Rebuilt by abbot Fulrad, who helped Carolingians to take the Merovingian throne (invert).
13 Heart; Christ child of Judah (lion, felid), holding a ball (rounded) at his chest (heart), held by St Mary, on the floor (interior).
13c Basket Head; (oracle, head, hat, lid, weave, tree, tail).
14 MixerA; South door… and window…, far from the axial centre (egress).
14 MixerB; …
14-15; St Anne, Mary’s mother…
And Conversion (transform, of 14) of St Paul (maker? Of 15) painting by La Hyre, 1637.
15 Maker; St Peter, ‘Rock’, Church founder (maker), keys holder at crossroads (gate, of 15g) as Janus (doubled), keys as sceptres (sceptre), formerly Isis or Hecate of crossroads, or Mithras, ‘Friend’, of doorways (15g), as Eden angels (winged, double). A ‘May’ painting by La Hyre in Paris Notre Dame shows St Peter curing sick with his shade (double). His emblems are a boat, rooster, pallium, book (order), beard. Namesakes Cephas, rival of John Baptist, and Simon Peter, fishers by net (bag). Companion (double) of Mark. Apostle to Jews, another (doubled) to gentiles. Denied Christ three times, last to abandon Christ, threw verbal ‘stones’ at Him. With a sword (‘sceptre’)(Joh18:10) as sun priest (midsummer), sword in ‘stone’. Appointed to administer divine law (order) as feathers (‘sceptres’, more typical of 10), “What you bind or loose (rope) on earth shall be bound or loosed in heaven (doubled)”.
15g Gal.Gate; St Joseph…, often with Christ child (juvenile of 7v15), rod (sceptre of 15), plane, carpentry square (build, of 1).
15g -1; Ste Genevieve, ‘Kin-wife’ or sister, priestess (2), Paris patron, who saved the city from Attila’s Huns by mass prayer miracles in the 400s, as shown in her stained glass window. Atilla marched to Orleans instead. Her emblems are a lit candle, bread, keys (gate, of 15g), herd (cluster, of 1), cattle (bovid, of 1). She resembles Simeon Stylites on his pillar (tower, of 1). Converted by Lupus (canid, of 15) of Troyes. Took grain to Troyes. Bargained with conquerors ChildericII and ClovisI for prisoners, as shown in her painted window. Memorialised by St Clotilde (double). Her godmother was Lutetia, ‘Muddy’ (build, of 1), former name of Paris. Visions of saints, angels (winged), prophecies (priestess, of 2). Enemies conspired to drown her in a fire lake. She led a movement of nuns. Clovis I built (build, of 1) St Etienne du Mont abbey for her, later Ste Genevieve du Mont /St Etienne, where her tomb worked miracles. Plundered (ruin) by Vikings in 847, partially rebuilt (build, of 1), later replaced by a church that Revolutinaries made into the Pantheon tomb of leaders, restored 1821, secularised as tomb, restored 1852 (build /ruin, or 1), now religious and secular (doubled, of 15). Her relics procession stopped wheat ergot ‘burn’, but were burnt at Place de Grève in the Revolution. Her order united (doubled, of 15) with the Miramiones of Holy Trinity, semi-secular (doubled, of 15), now Sisters of the Holy Family.
00 Axial centre; Unmarked, as usual.
04p Gal.S.Pole; West wall pilaster C (juncture).
11p Gal.Pole; North interior pillar right B (juncture).
Midsummer; West interior pillar inner right G (juncture).
Midwinter; West interior pillar outer left D (juncture).
The ‘solstice’ axle is on a north-south meridian. These markers place summer between axes 14-15, analogous to Cancer-Gemini, implying ‘spring’ and the cultural time-frame in Age Aries-Pisces, confirmed by the prominence of type 4 or Pisces as one of the three main portals.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
See a post on archetypes in Rennes le Chateau church in a post on http://www.stoneprintjournal.wordpress.com or order Stoneprint Journal 6; Rennes le Chateau stoneprint tour, including a virtual tour of the Bains and Rennes landscapes, Joyeuse Castle, and Rennes artworks, on Lulu.com
See 200 demonstrations of structuralist analyses of the subconscious expression of archetypal character features, sequence, axial grid, and time-frames, in religious, spiritual, ‘fine’, and rock paintings, engravings and other media, and the scientific context of structuralist anthropology, psychology and art history, in the book Mindprint (2014, Edmond Furter. Lulu.com).
Some editions of Stoneprint Journal are also available on Lulu.com.
Allen, RH. 1899 Star names and their meanings. Lost Library, Glastonbury
De Santillana G, Von Deschend H. 1969 Hamlet’s Mill: An essay on myth and the frame of time. Boston: Gambit
Eco, Umberto. 2009 Infinity of lists. Rizzoli
Fulcanelli. Le Mystere des Cathedrales, translated by Mary Sworder
Furter, E. 2014 a. Mindprint, the subconscious art code. Lulu.com
The five subconscious, structured layers of expression globally, are (a) typological characters with specific optional features; (b) type sequence, clockwise or anti-clockwise; (c) axial grid between eyes or focal points of pairs of opposite types; (d) three pairs of polar junctures, implying three planes of expression; (e) orientation of polar pairs vertical or horizontal to the ground-line or a cardinal direction, co-incidental with the seasonal time-frame of the local culture.
Types could be labelled after any popular set, such as species, myths or months. Generic labels, such as social functions, avoid the false impression of diffusion from one particular medium or culture. Correspondence theories are often misled by recurrent archetypal features, or by inevitable cross-references between media and cultures, into assuming diffusion, and ignoring the innate roles of nature in culture.
Characters expressing the types always have their eyes (except a womb at 11, and a heart at 12/13; or interior focal points in built sites), on an axial grid, formed by standard pairs (1v8, 2v9, etc). Our works also express two ‘galactic’ polar points (4p v 11p); and two galactic crossings (7g v 15g); and three polar points: Midsummer or Celestial Pole (cp), Midwinter or Celestial South Pole (csp); and Ecliptic Pole at the axial centre. Polar points are not on eyes, but on limb joints (or junctures in built sites). Four of the types could be double, as they are in the figure (1v8, 2v9; and 5a v12, 5b v13); or single (2v9 and 5v13 only); thus the total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks or built sites. The axial grid always confirms the peripheral sequence.
The five polar features also have global average frequencies. The axial centre is usually unmarked at about 60%, or on a limb-joint or juncture. Midsummer (cp) is on a limb joint 54%, or juncture 24%. Midwinter (csp) is on a limb joint 46%, or juncture 24%. One of the polar axles is on the horizontal plane 50%, or vertical plane 12% (or on a north-south meridian or east-west latitude in a built site).
Polar markers usually place midsummer on or near type 12, 13, 14 or 15, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3 or Pisces4. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3 or 4.
The general theme of a work is indicated by features that are prominent, or shared by three or more characters. Works or sets express about 60% of the already known 100 optional, measurable, recurrent features. The identified features are not of conscious design. Structural or ‘grammatical’ layers of expression are subconscious to artists, architects, builders, crafters, and members of any culture. Rigorous average frequencies and consistency through ages, also rule out nurture. The full repertoire appears in the oldest examples, in Ice Age art of about BC 26 000 (Furter 2014), ruling out accumulation of idiosyncratic ‘ideas’, and of localised cultural ‘frameworks’, as some anthropologists and rock art archaeologists believe (Lewis-Williams and Pierce 2012).
London’s last permanent wall probably expressed the same subconscious structuralist orientation as the stoneprint among London buildings. During the Renaissance the stoneprint among buildings doubled in diameter, and quadrupled in surface. The wall was demolished and gates became obsolete. London’s stoneprint retained its orientation (as Rome, Paris and other cities did), but some buildings and some gates acquired new identities, and the polar points moved south-westward, first to Temple Ave (see below), then to the Thames south bank corner. London’s Medieval gates
Type label; Medieval gate (noting archetypal features):
1 Bjuilder or Taurus; Tower (tower, cluster, maze) Postern Gate, pedestrian bend (twisted).
3 Queen or Aries; Billingsgate, of Belin, his head buried here (sacrifice), at the river port (pool).
4 King or Pisces; Ebgate. 4p Gal.S.Pole; Dowgate, at Mill Brook mouth (juncture, spout).
5 Priest or Aquarius; Queenhithe (water).
6 Exile or Capricornus; Blackfriars corner, far from the centre (egress).
7 Child or Sagittarius; Ludgate.
8 Healer or Scorpius; Newgate.
10 Teacher or Libra; Aldersgate (council).
11 Womb or Virgo; Wood Str? No gate (womb /interior). 11p Gal.Pole: Cripplegate, low lintel.
12 Heart or Leo; Moorgate.
13 Heart or Leo; Mill Brook stream (water-work), under the wall (inversion).
14 Mixer or Cancer; Bishopsgate.
15 Maker or Gemini; Aldgate.
The ecliptic pole is near Watling Str /Bread Str (juncutre). The celestial pole may be on Mill Brook at Lombard Str (juncture), and the celestial south pole on Friday Str. Both cardinal directions indicate ‘summer’ in Gemini, thus ‘spring’ and the cultural time-frame in Age Pisces, perhaps confirmed by the central riverfront position of Ebgate.
The general theme among these gates are type 11p ‘Galactic Pole’, dry centre of a galactic ‘river’.
London’s Roman gates
Type labels; Gate (noting archetypal features):
2 Builder or Taurus; Tower Hill (tower) keep and stockade (bovid).
2c Basket; Eastern corner.
3 Queen or Aries; Belin’s Gate and head (sacrifice).
4 King or Pisces; St Magnus (king), and Roman bridge.
5 Priest or Aquarius; ?
6 Exile or Capricornus; Palace or a villa (camp), near the centre (ingress).
7 Child or Sagittarius; ? (unfolding). 7g Gal.Centre: St Martin at Fleet River (water, juncture).
9 Healer or Scorpius; Bailey.
9c Basket Lid; Newgate and prison (10 law enforcement).
10 Teacher or Libra; Aldersgate (council), at Barracks (guard).
11 Womb or Virgo; Barracks (interior), kitchen (wheat).
13 Heart or Leo; No gate (interior).
14 Mixer or Cancer; Bishopsgate.
15 Maker or Gemini; Aldgate; and Forum (order, face, sceptre). 15g Gal.Gate; Pedestrian gate?
Polar markers are uncertain.
London’s civil war forts
Citizens worked hard as volunteers to first erect redoubts, then a large chain of forts, banks and dykes in the Civil War in 1643. Royal forces did not attack London afterward, and internal opposition was suppressed by democratic terror. Parliament soon demolished the forts in 1647. A conjectural map of 1739 and a modern survey demonstrate that artworks and plans are different media using the same spatial ‘grammar’.
Typology in the modern survey of London’s civil war defences (map after Vauban, noting differences in the survey by Vertue, on Fortified Places):
1 Builder or Taurus; Wapping Fort, at the later Millbank Prison (maze); On the same axis as the Tower; outer front for the Tower, seat of power (build, sack) and records (book).
2 Builder or Taurus; Redriff or Rotherhithe Fort.
2c Basket; Bermondsey Church Fort.
3 Queen or Aries; Kent Str Fort.
4 King or Pisces; Newington or Blackman Str Fort, at Elephant & Castle, ferrier (furnace). 4p Gal.S.Pole; St George’s Fields Fort (juncture. 4 field).
5a Priest or Aquarius; Vauxhall Fort (assembly), land and water forces (hyperactive, water).
5b Priest or Aquarius; Tothill Fort (assembly, mound of 12 opposite).
6 Exile or Capricornus; Milkfield Fort, far out (egress).
7 Child or Sagittarius; Goring House Fort. 7g Gal.Centre: Oliver’s Mount (juncture) or Sergeant’s Fort. [Another survey found a western corner 7g at Hyde Park Fort].
8 Healer or Scorpius; Banqueting Fort.
9 Healer or Scorpius; St Giles Fort.
9c Basket Lid; Southampton Fort.
10 Teacher or Libra; Lincoln’s Inn Fields? (interior, more typical of 11).
11 Womb; Virgo; Holborn? (interior from Pinder Of Wakefield Fort); or Royal Fort (one of only two exterior forts, usually one of two interior forts). 11p Galactic Pole: St John Str or Waterfield Fort (12 water-work), near Royal redoubt (juncture). [Another survey indicates type 12 Leo here].
12 Heart or Leo; Interior (heart) from Mount Mill Fort. [Another survey reveals this fort as type 13].
13 Heart or Leo; Hoxton Fort, which another survey places interior (heart). [Another survey reveals 13c here].
13c Basket Head; Shoreditch Church Fort.
14 Mixer or Cancer; Brick Lane Fort.
15 Maker or Gemini; Whitechapel Mount Fort, artificial hill (churn); and Mile End redoubt (doubled).
The ecliptic pole is near Talus Str (unmarked). [Another survey places the axial centre near Temple Church]. The celestial poles are uncertain.
The general theme among the Civil War defences includes type 11p Galactic Pole, of junctures and gestation, also of the short-lived Republic.
Or order the book Stoneprint (2016), or Mindprint (2014); or slide show talks, or to contribute articles, email email@example.com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4
Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm, 130 illustrations) resolves the main source of correspondences between ancient cultures. Stoneprint reveals archetypal structure on building sites.
We have an innate subconscious compulsion to express a specific, complex, archetypal set of features, in sequence, and on an axial grid, in all our works.
The book demonstrates the innate universal structure in our works, including art, rock art, houses, kivas, temples, villages, sacred sites, monuments, pyramids (Egyptian, Chinese, Olmec as well as Mayan pyramid fields), and cities.
The examples range from the Ice Age thaw at Gobekli Tepe, Malta, and Scotland; to prehistoric sites such as Babylon; semi-historic sites such as the Giza, Avebury and Stonehenge landscapes; historic sites such as Ephesus, Rome, Axum, Quebec, and Cape Town; and across all continents and cultures, including Africa, the far east, south America (including Nazca) and North America (including Mystery Hill).
Among the cultural media that carry the human code, and camouflage it from our conscious mind until revealed by structural analysis; are rock art, ‘fine’ art, ritual, myth, poetry (such as two examples of Babylonian building rites, and two poems by William Blake) buildings, sites and region (such as Babylonia).
Nature also express archetypal structure. Stoneprint reveals several direct links between subconscious cultural expressions, and the periodic table (when charted on a spiral as by Maurice Peyroux); chemical elements; reflexology charts of our palms, irises, teeth, earlobes and inner ears. Our eye-hand-mind co-ordination expresses the same universal structure in building sites, even by different architects, and different generations of rulers and builders.
Stoneprint, the human code in art, buildings and cities, now enables conscious access to our subconscious behaviour, which is revealed as standarised, rigorous, universal, eternal, complex, yet measurable.
The book places the discovery of subconscious behaviour (first reported by the author, Edmond Furter, in Mindprint in 2014), in the context of the esoteric crafts of alchemy, kabbalah, cosmology, astrology, and art; as well as the context of each human science: art history, archaeology, anthropology (with a humorous detour into popular archaeology), psychology, and sociology.
The implications of the discovery of the universal stoneprint structure for popular culture (including various schools of popular archaeo astronomy) , and for the human sciences, are significant.
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The index indicates the broad scope and depth of 28 years of research reported in Stoneprint. Each relevant craft and science is placed in context. Natural expressions are compared to cultural expressions. Each building site is illustrated by a map, and at least two pages of detailed structural analysis.
2 Architecture reveals our subconscious building code
3 The Five levels of structure in cultural media
3 The sixteen archetypes, in sequence
4 The axial grid of focal points
6 The four borderline types
7 The two galactic gates or cross-points
7 The polar clock of Ages
8 The six polar points
9 Structural analysis example of a site sketch plan
The cultural context of the human code
11 Alchemy: Crafts reveal chemistry
13 Chemistry reveals biology
15 Kabalah: Natural philosophy correspondences
17 Poetry: Blake’s London- Jerusalem- Golgonooza
21 Poetry: Blake’s Tyger describes expression
22 Poetry: The Stoneprint rhyme
24 Astrology: Calendars reveal divination
27 Cosmology: Direction is everywhere
The scientific context of the human code
31 Art History: Perception reveals gestalt
37 Archaeology: The World Archives challenge
42 Anthropology: Artefacts reveal structure
47 Popular Anthropology: Who did it?
52 Psychology: Behaviour reveals archetype
57 Philosophy: The universe reveals archetype
60 Communication Science: Structure is the message
63 Sociology: Behaviour reveals our self-image
66 Science and esoterica: our split consciousness
70 Why I wrote Stoneprint
73 [Chapter A] Natural elementary maps
74 The periodic table reveals atomic structure
80 Nuclear particles reveal atomic polar structure
81 Compounds confirm the axial pairs
82 Constellations chart our cosmos and myth
84 Astronomical poles in our cosmos
86 A crop circle solar system implies two grids
92 Earth imprints a motto: ‘I oppose artifice’
94 Trails of architecture in two crop circles
95 Numbers have character
96 Mars ‘face’ geology invites human gestalt
99 [Chapter B] Natural body maps
100 Our hands carry the imprint
102 Our eyes are windows to the body and structure
104 Our minds carry the imprint
106 Dental reflexology: the ‘boneprint’ in our cave
111 Our outer ear lobe reflex map
112 Our inner ear reflex map
113 Eye, palm, teeth, ear and organ map
114 Limb joints mark six poles
115 [Chapter C] Natural culture maps
116 Piacenza bronze liver double circle of gods
120 The sixth layer of culture is style conformity
121 Three sets of Etruscan gods integrated
121 Planets express poles and gates, not types
122 Gods or liver maps, which came first?
123 Piacenza city and its walls are cultural stoneprints
125 [Chapter D] Culture maps
126 The Maikop silver bowl paradise
128 Paradise, Fall, and Babel in a nutshell
129 Mapungubwe’s gold foil oracle reconstructed
130 A Venda divination bowl
132 An Italian Goose game board
134 Pedra Pintada engraving oval, and pentagons
138 The Bulgarian Karanovo tablet answers questions
139 [Chapter E] Ice Age sites
140 Turkey: Gobekli Tepe house C, polar boars
147 Turkey: Gobekli Tepe house D, type 14
150 Turkey: Gobekli Tepe house B, type 2
152 Turkey: Gobekli Tepe house A, type 3
154 Turkey: Gobekli Tepe excavation and radar maps
156 Turkey: Gobekli Tepe pillar D43, a culture portrait
158 Turkey: Gobekli Tepe grey pillar
159 Babylonia: Inana huts, Nevali Cori kiva, Kurdish huts
160 Turkey: Gobekli Tepe site perspective
161 China: An Iron Age T-shaped silk drape
162 A Greek healing pillar, and Shinto dressed pillars
163 Spain: Malta’s Mnajdra double stoneprint
164 Spain: Malta’s Gigantija double stoneprint
167 Spain: Hal Saflieni’s underground stoneprint
168 Scotland: Skara Brae plans
169 Scotland: Jarlshof wheelhouses and recycling
170 Spain: A Menorcan taula reconstruction puzzle
171 [Chapter F] Early civil sites in Sumeria
172 Babylonia was a stoneprint in clay brick
174 Babylon city, a vortex of dispersion
176 Two mythical gates
177 King-priest Ur Nanshe builds a temple
178 He built sixteen shrines
179 His crafts reveal subconscious method
180 He casts the circle of eternity, or polar ring
181 He was a visionary like Solomon
182 He works magic: as below, so above
184 He was an inspired architect, like Hiram of Tyre
185 He did not understand the building plan
188 He taxed the clans for construction
190 His allies and contractors
191 He surveys eight rooms, and erects eight doors
193 He set up six slabs as poles
194 An, Enlil, Enki: three equators to survey the site
195 Assyria: T-pillars and Y-tents in an army camp
296 Egypt: Narmer’s camp, and a school camp
197 [Chapter G] Early civil sites in Egypt
298 Sakkara, first royal campus, and a stepped pyramid
200 Teti’s pyramids form a stoneprint in Sakkara
201 Giza pyramid field stoneprint
204 Giza pyramid field is also a polar map
206 Kings Valley tombs are underground stoneprints
212 Queens Valley entrances lost and found
214 A ‘Syrian’ queen in a womb among wombs
216 Edfu temple is a double churn
218 Senmut’s ceiling stoneprint is half zodiac, half duat
220 Duats and decans are arch mutators
221 [Chapter H] Civil outpost sites
222 Nubia: Meroe pyramids speak with their doors
224 Egypt: Nabta Playa slab field counts four Ages
226 Egypt: Hawara labyrinth in Kircher’s Gnostic vision
228 Nubia: The cornucopia of minister Huy
230 Palestine: Jerusalem temple mount hybrid
233 Patriarchs, pharaohs, and kings
234 Palestine: Jerusalem, womb of three religions
236 Judea: Masada, a military stoneprint
238 Turkey: Nemrut hill, crossroad of Persians and Greeks
242 Australia: Elivna rock pavement engraving
244 Ethiopia: Axum is an ark of spiritual mysteries
247 Ethiopia: Lalibela temple field of bedrock ‘hearts’
249 Ethiopia: Lalibela’s Mary church; womb in a womb
250 Ethiopia: A reverse rock imprint spells ‘Rotas’
251 [Chapter J] Prehistoric European sites
252 Ireland: Drombeg house, a cosy double stoneprint
254 England: Avebury and Silbury landscape
256 England: Stonehenge counted three ages
263 England: Damerham circles in radar scan
264 England: Stonehenge landscape radar scan
266 England: Stanton Moor landscape; boulders and ‘ladies’
268 Greece: Phaistos palace, the other Greek labyrinth
270 Germany: Magdalenburg mound graves
273 Scotland: Stennes stone circle
274 Scotland: Cochno stone concentric engravings
275 [Chapter K] African sites
276 Zimbabwe: Great Zimbabwe, landscape with a womb
278 Zimbabwe: Great Zimbabwe queen’s yard with a womb
280 A kudurru boundary stone calendar spring bird
281 Egypt: Dendera zodiac summer bird
282 Zimbabwe: Nhunguza and Penhalonga metallurgy floors
283 South Africa: San Bushman painted stoneprints on rock
284 Mali: Nature and culture on a Dogon mud wall
286 South Africa: Lydenburg concentric engravings boulder
287 [Chapter L] Eastern sites
288 India: Buddhist wheel of life landscape panorama
289 India: Sanchi temple gate pagoda engraving
292 Nepal: Kathmandu palace square temple complex
294 China: Beijing Temple of Heaven park, an Aquarian cosmos
295 China: Choukungmu pyramid fields need more research
296 Japan: Nara Basin Horyuji temple, galactic manifestation
297 Japan: Todai temple, a living site
298 Japan: Himeji, Shirasagi-jo temple, White Heron nests
299 [Chapter M] Mexican sites
300 Izapa pyramid field and stelae, new world, same stoneprint
302 Izapa cacao tree ritual stele, a third layer of structure
304 La Venta pyramid field, spire eyes, platform womb
306 Monte Alban double stoneprint works with the landscape
309 Coba, a triple Stoneprint with interlocking ‘galaxy’
310 Uxmal was contested by a witch, a dwarf, and a king
312 Chichen Itza has temples to planets, and a stoneprint
314 Chichen Itza village scene, a busy day
315 Teotihuacan mountain stream, and rain woman mural
316 Teotihuacan pyramid avenue, Leo sun, Virgo moon
318 El Tajin pyramid field, double thunder
320 Palenque lid cosmic tree and double stoneprint
322 Palenque pyramid field, chaos among order
323 [Chapter N] North and South American sites
324 Peru: Machu Picchu, Mayan capital in the clouds
326 Bolivia: Tiahuanaco island’s Sun Gate is the sun type
328 Chile: Atacama geoglyphs with Aquarian tailcoats
330 Peru: Nazca plain geoglyphs express ecological structure
332 Peru: Cuzco’s Coricancha constellations reveal an update
335 USA: California’s Painted Rock, theatre of time
340 USA: Lower Colorado River geoglyphs has a calendar clock
342 USA: Hopi kiva 5mT2, and its village, hinge on a womb
344 USA: Colorado’s Mystery Hill metallurgy plant or tech school
346 USA: Crow Canyon kivas Block 100 has two missing features
347 [Chapter P] Historic Western sites
348 Italy: Rome, eternal city with an Age update
350 Italy: Rome’s gates and bridges are eloquent
352 Italy: Rome’s Capitol Forum, contested but constant
354 Italy: Rome’s Quirinal forums for spiritual order
356 Italy: Rome’s Vatican City, a stoneprint inside type Aries
360 Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
362 Turkey: Ephesus, former city of Amazons and Artemis
363 Icons: Serapis and Ophiotaurus, half-monsters
366 Spain: Santiago de Compostella, of a son of thunder
367 Spain: St James and Hercules, hybrid planetary characters
370 Canary Islands: Las Palmas governor’s house facade
372 Canada: Quebec, Victorian ideals in stone
374 South Africa: Cape Town’s Dutch forts claimed a footprint
376 [Chapter Q] Structural analysis formats
376 Kinds of media in the 130 examples
376 Commission impossible: design a stoneprint site
377 Emblems, icons, constellations and Tarot trumps
382 How to find the subconscious structure on a site plan
382 The structural analysis format
384 About the author
385 Sources and references
Here are some examples of structural art analysis using mindprint; a set of sixteen types with their frequent attributes; in their standard sequence; with the eyes of typological figures on an axial grid. All art containing more than eleven characters express this structure, without the conscious knowledge of artists.
An example of the standard typological sequence and geometric structure, present in all art of all cultures), in a seasonal, clockwise direction, in formal Egyptian funerary art. Type 7g Galactic Centre between types 7 and 8, here both as hieroglyphic figures, is a canal vortex (see hieroglyphs as figures, also in Babylonian and in Mexican art).
A sand mound formed by water expresses the idea of becoming in Egyptian theology. Giza waterworks, including the Sphinx reservoir (see Robert Temple’s book on the Sphinx) and lower shafts (see Edward Malkowski on gravity pumps) incidentally express the concept of the galactic centre and four galactic corners. Many Egyptian sites had symbolic water features, as in Peru, India, and other parts of the far east.
The sun-in-horizon glyphs at Leo and Cancer, express midsummer, the birds express the celestial pole near Ursa Minor, and their ponds may express summer, perhaps a rare incidence of conscious use of some calendric parts of the subconscious structure of cultural expression. The pegs at Cancer may incidentally express solstice or precession calibrators. Some elements in afterlife scenes, as in duat hour scenes, polar groups, decanal groups, and tree of life groups, are traditional, some are updated, and some are re-arranged by the individual artist. Stock artworks were seldom if ever copied by mechanical means, yet beneath their apparent differences, and beneath their apparent stock elements, is a rigorously identical set of types, in standard sequence, with their eyes on a standard axial grid, and some limb joints in standard polar positions.
The galactic poles are both on the edges or ‘elbow’ banks of akhet horizon hieroglyphs, representing desert hills in a cross-section of the Nile valley. A celestial polar marker on the elbow of an extra, polar type 15 Maker or Gemini, tags the inspiration as Age Aries-Pisces, but his hand tags the earlier Age Aries, and the foot of a benben bird on an obelisk provides for the future Age Aquarius. Artists are not conscious of most of the aspects of the detailed iconographic hologram that they express.
Bull foreleg as Ursa Minor and celestial pole is a semi-conscious symbol
The celestial pole star in the Senmut ceiling is at the hoof of a severed bull foreleg, or ‘poing’ stick skewering some dots, as the Ursa Minor tail, calibrator of recent polar positions. Yet this is not an feat of astronomy, but a feat of semi-conscious structural expression.
The bull leg is speared by an extra type 10 Teacher or Libra, decan Bootes, also with his arms raised. His spear is part of the Ursa Major severed bull foreleg (related to the former spring bull, since it calibrated the precession of the celestial pole, and thus of the summer sun, at the time). The two forelegs are conflated in myth and art, though usually separate constellations.
The polar decan behind the bull leg is a nominal type 15 Maker or Gemini, which is often the rope puller, re-creator, smiter, and ancestor. Gods are not enthroned on the poles, however some polar attributes are transferred to the Taweret group in the lower register, which doubles as the seasonal constellations 14 Mixer or Cancer (eye of crocodile on Taweret’s back); 12/13 Heart or Leo (Taweret’s heart, see the note on ‘eyes’ or lucida below); 11 Womb or Virgo (unseen eye in Taweret’s pregnant womb); 10 Teacher or Libra (eye of a duplicate Bootes with his arms up); 8/9 Healer or Scorpius (eye of a rampant crocodile); 7 Child or Sagittarius (eye of a young crocodile curled up).
The Senmut ceiling has a constellation and seasonal cycle split into two. On the upper register appears the rest of the ecliptic (zodiac) constellations (not ‘signs’, which the decans partly are, hence their perpetual confusion). Some ambiguity here due to some extreme variants in typology, indicate that the upper register may have been designed for the other side-wall of a barrel vault, and was thus inverted and stands in retro sequence.
However they continue the seasonal sequence; Capricornus (eye of a crane); Aquarius (eye of a turtle); Pisces (eye of a boatman); Aries (eye of a hieroglyph, a weak point in the visual expression, however it’s determinative is one star, common for delta Arietis in several decanal calendars); Taurus Perseus (eye of a backwards-looking boatman, identified by seven stars as standing on the Pleiades, and by three stars as adjacent to Orion); Gemini (star on an axe-shape, perhaps Canis Sirius).
Some of the decanal figures, and some hieroglyphs, confirm the identifications.
The axial centre confirms the subconscious spacing (I could not find any reference to any artist or school being aware of the mindprint structure in art).
The polar configuration is not marked by ‘gods’ or archetypal principles, but by structural features, usually limb joints; the galactic pole is on Taweret’s jaw (a frequent polar marker), the galactic south pole is on Pisces’ foot. The moving celestial pole was on Dinwiddie’s rear foot, moved to his front foot, as confirmed by his vertical plane, the other figures’ horizontal plane. The celestial south pole was on his elbow, moved to his front shoulder.
The celestial poles, and thus solstices, here lie in the wide gap between Cancer and Gemini, indicating a broadly Age Aries framework. In subconscious anticipation of moving closer to Age Pisces, and thus to a Gemini pole and summer, the bull foreleg hoof offers a (formerly forthcoming) limb joint marker, opposite Dinwiddie’s hips as a limb joint marker for the celestial south pole.
Art, myth, ritual, and crafts like astrology, all derive from archetype. Culture is sustained and standardised by subconscious expression. I did not design archetype, or this quirky cultural expression of archetypal structure. I merely identify and demonstrate this expression.
Astronomical figures are not primarily zodiac figures, since they are not conventionalised. However their ranges of attributes, their sequence, and their relative positioning are highly standardised, forming a mindprint (Edmond Furter; Mindprint, 2015, lulu.com). Mindprint is not a zodiac, it appears in all cultural media, in all cultures and eras, has never been consciously recognised, and does not evolve.
Some zodiacs or star maps subconsciously express mindprint, while motivated by a mixture of calendric, charting, astronomical, mythical, theological, political, decorative, and other conscious aims.
The decans in the lower register, all with red spheres on their heads, perhaps indicating lunar stations (hours), do not stand for much else, as usual. One of the few decans with blank spheres on their heads, doubles as a second Cancer (its eye is on the same axis as the Cancer crocodile’s eye).
The Senmut types, as in all artworks, confirm one another in five ways;
 by features (eg raised arms is typical of type 10 Teacher Libra, etc, see the statistics in other posts);
 and in sequence (eg type 10 Teacher Libra is between type 11 Womb or Virgo, and type 9 Healer or Scorpius);
 and in axial spacing (eg type 10 is always opposite type 3);
 and in the exact spacing of their eyes (type 10’s eye is opposite type 3’ eye, with two constant, standard exceptions to the ‘lucida’; type 12/13 Heart or Leo is spaced by his heart in 85% or artworks, and type 11 Womb or Virgo is spaced by her womb 87% of artworks);
 and in the polar structure, based on limb joints and the horizontal or vertical plane.
[UPDATE 2019: Here is the set of labels used to mark typology characters in artworks or building sites, using generic functions instead of myths, and numbering the c-types to enable the Sort function to place them correctly in the sequence. Pairs of opposites that always appear on the same axis, are given above/below one another;
1Builder 2Builder 2cBasket 3Queen 4King 4p
8Healer 9Healer 9cLid 10Teacher 11Womb 11p
5aPriest 5bPriest 5cTail 6Exile 7Child 7g
12Heart 13 Heart 13cHead 14Mixer 15Maker 15g
cp csp ? ?
I tested the Senmut ceiling for the book Stoneprint (initially in response to two queries); for clearly demonstrating that traditional astronomical programmes, commissions, and artists, concentrate on consciously political and theological intentions, and on some semi-conscious symbolic conventions.
Yet the same work clearly expresses the universal structure of culture, perception, and nature, using the same predictive and testable criteria as in the book, and in the article. Mindprint analysis of highly detailed cosmological features, reveals how the assumed unique art for or by the talented commoner social climber Senmut, under queen Hatshepshut, and the assumed unique Egyptian culture, repeats the same tupos (seal or imprint) as the art of all cultures and all ages.
Art demonstrates that the origin of culture is archetypal, not astronomical, astrological, mythical, religious, political, calendric, decorative, incidental, etc. All cultural media play some roles in mutating expressions and styles, but the core content is as hardy as the periodic table of chemistry, of DNA.
Like DNA, even slight changes in some attributes, in sequence, or in spatial positioning of ‘chromosomes or acids’ would be fatal. There are other Egyptian ceiling examples in Mindprint on p175 (Seti 1, and Ramses 6); Egyptian art on pp 204, 205, 210, 215, 217; Egyptian palettes on pp 170, 184; and political murals on p166 etc, Egyptian jewellery on p224, 227.
All complex artworks (containing eleven or more figures, or characters) express the complexities of natural structure in surprisingly minimalistic and ‘innovative’ ways, beyond the conscious capacities of the artists. The same goes for each of the other 200 artworks in the book, and about 543 tested since, from all the known cultures in and before history (see some examples in my article at Graham Hancock’s website, under Author of the Month September 2015, and some discussion in the context of archaeo astronomy).
The same goes for a pseudo-Egyptian painting by an amateur South African artist (Mindprint p189). Artists do not have to be ancient, or Egyptian, or have big and commodified names (many of whom feature in the book), to express archetypal structure in Egyptian style, or in any style.
Styling is pseudo culture. Art, language, ritual and all of culture, is first, foremost, and in the final analysis, structure, clothed and disguised in conformist fads.
I have avoided including zodiac artworks in the book, to escape the apparently ‘logical, common sense’, but false impression that mindprint may be ‘based on the zodiac’. The opposite is true; nature, seasons, ritual, myth, art, emblems, zodiacs, crafts, such as astrology or psychology, and everything cultural, expresses archetypal structure.
None of these media derive from any other, or require the pre-existence of any other, although some cultural media sometimes illustrate the conventions of other cultural media at a conscious level. However all cultural media are subconsciously standardised, and sustained, by compulsive structural expression. We are structural creatures.
Application of the structural analysis method named mindprint, published in 2014, reveals the same core content in Ice Age cave art, as in hundreds of examples from every other era, place, and culture in the world. (An introduction to the book follows below some recently added posts).
The latest example of the mindprint structure in a Chauvet cave charcoal panel in France, indicates the same repertoire of perception and cultural expression as in various kinds of art and artefacts, from the Younger Dryas ‘thaw’ at Gobekli Tepe, to Babylonian, Egyptian, European, Indian, Chinese, Australian, African and American art.
Two other Chauvet panels (see below) were earlier found to express a partly interlocking double imprint (Furter 2014; Mindprint p154 and p155, Lulu.com). In all artworks containing eleven or more characters, each one expresses one of the attributes of a type; always in the same sequence; always with their eyes on an axial grid; and always with some limb joints in the centre indicating the time-frame of the work. Artists then, and now, are not aware that they express the structure of perception.
Type labels, and Characters in a Chauvet cave artwork, in the usual peripheral sequence (noting archetypal features):
2 Builder or Taurus; An antelope (bovid, not counted here due to abundance), in a twisting posture (twisting)
2c Basket; Jumble of lines (weave)
3 Queen or Aries; An antelope
4 King or Pisces; Horse (equid) 4p Galactic south pole; Horse shoulder (limb joint)
5a Priest or Aquarius; An antler, large (large)
6 Exile or Capricornus; An antler, nearer the centre (ingress)
7 Chile or Sagittarius; ? (often an indistinct shape. Perhaps damaged).
9 Healer or Scorpius; Bovid, large (large)
10 Teacher or Libra; An antler
11 Womb or Virgo; An antler’s womb (womb) 11 Galactic pole; Hump (limb-joint)
13 Heart or Leo; An antelope heart (heart)
13c Basket Head; Tally marks (texture)
14 Mixer or Cancer; An antelope, far out (egress)
15 Maker or Gemini; An antelope 15g Gate; Chasm in the rock face and ‘landscape’.
The ecliptic pole or axial centre is on a horse hoof (limb joint). The celestial pole is on a horse knee (limb joint), on the vertical plane (orientation) of most of the figures (one of the pairs of edges of the polar triangles are often vertical or horizontal). These polar markers place the summer of the subconscious cosmic structure (which is not a star map) in Virgo-Leo, thus the spring, and the cultural inspiration, in Age Gemini-Taurus, about BC 6400. However the time-frame is usually the Age or transition preceding the era of the work, thus this work was probably made in Age Taurus, when autumn was in Scorpius, and winter in Aquarius (both here on corners of the ocular (eye-to-eye) outline. Age Taurus lasted 40 degrees of precession, twice as long as Age Aries, which lasted 20 degrees, due to its compact borders. Subconscious division of ages does not follow the 30-degree divisions of of zodiac months, although Age Pisces lasted the average, of 30 degrees, or about 2100 years.
All five layers of structural expression (attributes; sequence; ocular grid; polar structure; and relation to preceding or current Age), are subconscious to artists, architects, builders and members of any culture.
The general theme here is probably the season, depicted by moulting of neck hair, and contrary movement.
The stoneprint analysis score is….. about 54% [the scoring format has since been updated, see later posts]. Despite the lack of species diversity, and themes that only paleontologists could spot, this panel demonstrates more than half the features identified (Furter 2014; Mindprint p 84 -87). Additional features of subconscious expression may yet be isolated and tested.
The presence of two other mindprints in Chauvet cave, and another in Lascaux cave (p150-151), and another in Niaux (p241), and another in Addaura (p240), and in Peche Merle, and relief carvings on two Gobekli Tepe pillars, confirms that pre-civilised cultures operated on the same principles of perception and expression as modern cultures do. The only differences between these ceilings, and cathedrals such as the Sistine Chapel ceiling, is in the scale, time, and budget afforded by empire.