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.
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, 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.
Summer; Force member’s shoulder (limb-joint).
Winter; Force member A’s elbow (limb-joint).
The solstice axle places summer between axes 15-1, or Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius, our current Age (since 2016). 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 short extracts on http://www.mindprintart.wordpress.com and on www.stoneprintjournal.wordpress.com).
The poster flips the structure left-right, and re-designs its. 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 political behaviour that enables societies and nations, ironically parallels recurrent features in the ‘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
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.
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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.