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
Some trade seal stamps from Bahrain, of Dilmun culture; some rare pre-dynastic Egyptian cylinder seals; and some late Egyptian cotton spindle ‘buttons’, are among the 50 seals and stamps used to demonstrate that miniature artworks and ancient logos subconsciously express the universal five layers of culture, identical to larger artworks, but with a few structuralist compromises (for often having fewer than the minimum twelve eyes). Here is an extract from Stoneprint Journal 5 (where 30 of the 50 ancient miniature artefacts are demonstrated, and statistics of the average frequencies of typological features are expanded).
A metals trade logo
General themes in this Dilmun trade seal include type 4 King or Pisces, of fields, ore and furnace; and 10 Teacher or Libra, of trade, metallurgy, ecology (here antelopes, spices, alloys). Every artwork expresses the same ‘grammar’.
Type label; Character (noting archetypal features):
1 Builder or Taurus; Flower, Tabernae Montana, or pole star, or iron, medha, NO EYE.
2 Builder or Taurus; Rooster (bird) at sprout or ‘furnace’, kolmo, kolami.
2c Basket; Fields, division, stone, ‘ore, furnace’ (weave, grid), khand. The four c-types are off the grid.
3 Queen or Aries; Herder /trader /smelter, arm up (of 10 opposite, smith), or copper, eraka (market, of 10 opposite).
4 King or Pisces; Smelter? (furnace) kneeling (squatting) behind trader (twins).
4p Gal.S.Pole; Smelter’s foot (limb).
5a Priest or Aquarius; Antelope and bent staff /spice /merchant (varicoloured).
5b Priest or Aquarius; Horse head (hyperactive, tailcoat head, equid).
6 Exile or Capricornus; Herder?, nearer the centre (ingress).
13c Basket Head; Cone hat (weave), beer strainer /metallurgy?
14 Mixer or Cancer; Antelope /spice /’bronze /trader’, near the centre (ingress).
15 Maker or Gemini; Two bulls (doubled) /cast metal, dul, wire (rope). Of herder /smelter (churn, re-creator), ’bronze /trader’, tangara /damgar, with drinking straw (rope), kuthi.
The celestial poles are on an antelope jaw, and hip (limb joints), placing ‘summer’ in Leo, thus ‘spring’ and the cultural time-frame in Age Taurus2, confirmed by the sprout.
General themes in this Dilmun trade seal stamp from Bahrain, include type 6 Exile or Capricornus, of sacrifice (here four assaults), reptile (here two croc-men and a fish), amphibian (here the ibex-boat), horned (ibex, giraffe and antelope), and double-headed (here double-bodied bird-man and croc-men).
Type labels; Character (archetypal features):
2 Builder or Taurus; Bird-man (bird) grasps and bites (twisted) a dog.
3 Queen or Aries; Fish (tail, decan Cetus tail).
4 King or Pisces; Giraffe (equid, decan Pegasus), kneeling (squatting), perhaps analogy for a furnace?
4p Gal.S.Pole; Croc-man B’s hand (limb joint).
5b Priest or Aquarius; Croc-man B (varicoloured, water. Reptile is more usual at 6) chest (heart of 12).
5c Basket Tail; Croc-man B’s tail (tail).
6 Exile or Capricornus; Antelope looking back (sacrifice, small, horned).
11 Womb or Virgo; Ibex-boat’s cargo hold (interior, wheat).
13 Heart or Leo; Ibex-boat’s chest (heart, water-work).
13c Basket Head; Croc-man A’s tail (head or tail).
14 Mixer or Cancer; Croc-man A steering ibex-boat. And the ibex-boat (decan Hydra?).
15 Maker or Gemini; Dog (canid) v croc-man, itself bitten by a bird-man, NO AXIS.
The celestial south pole is on the giraffe knee (limb joint), placing ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries.
When Egypt was an outpost of Sumer
General themes in this rare pre-dynastic Egyptian cylidiner seal, include types 3 Queen or Aries (long necks, spring, equid); 5a Priest or Aquarius, typically varicoloured (here giraffe skins), hyperactive (ritual), priest, hearts, equid); 15 Maker or Gemini, typically bag, doubled (here giraffes), churn (here around the tree). The item and style demonstrates a shared heritage with Sumer. The subconscious structure demonstrates the universal elements in cultural media. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.
Type labels; Character (archetypal features):
2 Builder or Taurus; Giraffe B (bovid), NO AXIS.
2c Basket; Herb tree (weave). C-types are off the axial grid.
3 Queen or Aries; Giraffe A (long neck, ‘equid’).
4 King or Pisces; Horus (prince) falcon sitting (bird, squatting) on palace (rectangle).
4p Gal.S.Pole; Priest’s finger and Horus foot (limb joints).
5a Priest or Aquarius; Priest (priest) with loincloth herbs bag (tailcoat head) and kilt (sash).
5c Basket Tail; Palace serekh (container).
6 Exile or Capricornus; Herbs bag (of 7), small, far from the centre (egress), NO EYE.
7 Child or Sagittarius; Herbs bag (bag, unfolding) on a string (rope). SWOPPED AXIS.
7g Galactic Centre: Feet (path).
9 Healer or Scorpius; Giraffe A’s heart, NO EYE.
10 Teacher or Libra; Herb roots (V-posture, staff).
11 Womb or Virgo; Tuber bulb (womb /interior, crop).
12 Heart or Leo; Giraffe B’s chest (heart).
13 Heart or Leo; Crocodile’s chest (heart, death. Decan Ursa), NO AXIS.
13c Basket Head; Crocodile’s crown (head).
14 Mixer or Cancer; Tuber (tree), near the centre (ingress), NO EYE, NO AXIS
The axial centre or ‘ecliptic pole’ is unmarked as usual. The horizontal plane places ‘summer’ in Leo12-Leo13/Cancer, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre. The time-frame is usually the Age before the work, but many transitional era works express their contemporary time-frame. Some works intended as legacy, equally subconsciously express their forthcoming Age. Either way, there is no reliable dating in the currently known layers of natural or cultural structure. Archetype exists independent of time and place, and allows expressions of, and in, times and places.
General themes in this cotton spindle include type 15 Maker or Gemini, of rope (here cotton from the spindle), order, bag (clothing from cotton), doubled (two twines and holes), creation (cloth), and churn (spindle); and type 10 Teacher or Libra, of discs (here the spindle itself, and the sun disc), and carousel (roundel of characters); and 9c Basket Lid, of discs and woven texture (cloth).
Type labels; Character (archetypal features):
2 Builder or Taurus; Rosette (cluster), NO EYE.
2c Basket; Rosette streamers or water (weave). C-types are off the grid.
3 Queen or Aries; Woman (queen?) with rosette or cup (sacrifice, spring).
4 King or Pisces; Snake coiled.
4p Gal.S.Pole; Queen’s rear knee (limb joint).
5b Priest or Aquarius; Snake heart (of 12).
5c Basket Tail; Snake tail (tail, weave).
6 Exile or Capricornus; Animal (sacrifice, horned), NO AXIS.
7 Child or Sagittarius; Animal’s young (juvenile) drinking.
7g Galactic Centre: Boat (water, path).
9 Healer or Scorpius; Boat stern mascot head (pillar, bent forward), NO AXIS.
9c Basket Lid; Sun in boat (disc).
10 Teacher or Libra; Boat mascot (staff, market).
11 Womb or Virgo; Scarab rear foot, implied dung ball with larvae (womb). This symbol is conscious, but most of the features of the other types, their sequence, the axial grid, the polar markers, and the resulting time-frame, are subconscious, and unknown to artists and users everywhere.
The scorpion here subconsciously expresses type 15 Maker or Gemini, probably its decan Ursa Minor. The sting in its tail expresses type 14 Mixer or Cancer, which shares the same decan with Gemini. Scorpions are rare as a typological species (expressing type 8/9 Healer or Scorpius at only about 4% average frequency). The current Western zodiac includes some high, medium, and low frequency archetypal features, partly due to differences between the subconscious ecliptic grid of archetype, and myth, and the celestial grid of semi-conscious symbolism. Crayfish is a more typological species, expressing type 3 Queen or Aries as two kraken or water dragons in vertical antithetical posture; or type 14 Mixer Cancer as two sea creatures in different directions in horizontal posture; both at low frequencies. As noted in Mindprint (2014), every bull is not Taurus (but the character in the position of type 1 or 2 in all artworks and building sites, is bovid in 19% on average. This average is confirmed in a sample of 50 seals and stamps, of which 30 are demonstrated in Stoneprint Journal 5).
Live and die by the blade
Egyptian battle scenes on land and water (Gebel el Arak ivory knife handle rear. Fitted to a flint blade. Louvre. Typology and axial grid by ED Furter). General themes on this side of the ancient ivory miniature masterpiece include type 3 Queen or Aries; of sacrifice, pool, spring (battle campaign season), daggers (worn by some warriors here; decan Triangulum, Knife, as the artefact itself is). The themes and most symbols are conscious, but the five structural layers of expression are subconscious to artists, architects, builders and members of any culture.
Type labels; Character (archetypal feature):
2 Builder or Taurus; Warrior I (twisted, sacker).
2c Basket; Captive H. C-types are off the axial grid, between the axes of the two adjacent types.
3 Queen or Aries; Warror D.
4 King or Pisces; Warrior C (king?) versus equal (twins?).
4p Gal.S.Pole; Feet of B, (limb joint).
5a Priest or Aquarius; Prisoner, B.
6 Exile or Capricornus; Mace smiter, far from the centre (egress).
7 Child or Sagittarius; Mace smiter, E.
7g Galactic Centre: Middle register (juncture).
9 Healer or Scorpius; Sailor A, with ropes (of 7, posture of 10).
9c Basket Lid; Rope coil (weave).
10 Teacher or Libra; ? DAMAGED.
11 Womb or Virgo; Casualty A, midriff (womb), drowning (water).
11p Galactic Pole: Ship hut (juncture).
12 Heart or Leo; Casualty (death), axis on chest (heart, war), sinking (inverted).
14 Mixer or Cancer; Casualty C.
15 Maker or Gemini; Ship standard post B (doubled, sceptre).
15g Gal.Gate; Middle register (juncture).
The ecliptic pole is unmarked, as usual. The celestial pole is on a ship standard (juncture). The celestial south pole is on combatant F’s shoulder (limb-joint). These markers place ‘summer’ in Cancer, thus ‘spring’ and the cultural time-frame in Age Aries.
In artefacts and artworks, where archaeo astronomers see ancient star maps, archaeologists see cultural traditions, and anthropologists see initiation secrets, appear a standard axial grid of archetypes, always in the same sequence.
[UPDATE 2016: Mindprint demonstrated our individual expression of archetype in art. The book laid the foundation for revealing our innate, subconscious, collective expression of archetypal structure, in buildings, villages, temples complexes, pyramid fields, geoglyphs and cities. Our collective subconscious is revealed in Stoneprint, with 400 pages and 130 illustrations, placing subconscious behaviour in the context of five sciences and several cultural crafts. Visit www.stoneprint.wordpress.com for extracts from this important new book.]
The subconscious art code or human imprint also appears in our eye, hand and body reflexology points, and in cosmology. Constellations are only myth maps, but myth, and therefore constellations, also bear the imprint of the structure of our perception.
All inspired artists, in the Stone, Ice, Bronze and Iron Ages; Babylonians, Egyptians, Chinese, Celts, Mayans, Vikings and moderns, subconsciously express mindprint, our eternal artefact.
The core content of art, myth and culture around the world is identical. Beneath thin layers of flamboyant styling and learning lies a surprisingly standard structure, beyond the conscious control of artists, mystery schools or secret societies.
All inspired artworks containing more than ten figures express a standard, involuntary sequence of types. Artists are not aware that their eye -hand -mind co-ordination expresses a universal structure.
Each figure type is characterised by one or two of its optional attributes and by its relative position. The types are spaced as paired opposites around an irregular ellipse, and precisely anchored to a standard axial structure, hinged on a geometric centre with tri-polar elements.
The structure emerging in the 200 illustrations and in the statistical analysis, is a visual grammar or art code, never before described in art history, archaeology, psychology, esoterica or popular crafts. The book is written as popular archaeology, but it has several implications for academic research.
Archetypes could be labelled in mythical, seasonal or astrological terms, yet none of these sets are origins of archetype. All are equally partial and imperfect expressions of pre-existent, universal structure.
The underlying structure of nature, culture and perception is largely subconscious, not fully verbalised by artists or viewers. Now these subconscious meanings are rendered partially conscious, and accessible by identifying relevant features, and thus types, and by using a list of the average frequencies of occurrences of the features of typology, and using the axial grid structure.
The axial geometric structure in the positioning of the eyes of the sequence of figures is made visible by drawing a set of lines that always cross in one point. This structure is visually disguised by some radial distortion (a sunburst shape); variety of subject and style; and two standard deviations, to a heart as a kind of spiritual eye, and to a womb as a kind of unborn eye.
Visual expression arises from nature, reflexology, and the collective subconscious. Learning, borrowing and idiosyncratic features do not affect the options, nor their average frequencies. The structure of perception and expression, or archetype, is inherent in all forms of figurative arts and crafts, including engravings, murals, frescoes, spiritual, religious, political and portable artefacts, professional and amateur art; and building sites (see http://www.stoneprintjournal.blog). Mindprint in ‘story’ paintings on buffalo skin are among the many indications that archetypal structure also enables myth, legend, perception, and to some extent, events.
The ‘readable’ elements in visual expression reveal a similar structure in myth, literature, cosmology, calendric cycles and nature, confirming the role of what philosophy and psychology describe as archetype.
Myth likewise uses characters differentiated by stock attributes, actions, motivations and episodes, and also expresses natural, social and cultural structure.
Art is less constrained by conscious cognitive processes than myth, which is bound by verbal, acoustic and dramatic grammar. Visual art is more direct, more impulsive, more compulsive to artists and viewers, more layered, and closer to inspiration.
The subconscious imprint, referred to as mindprint, tupos (imprint), art code, human subtext, Furter grid or archetypal art code, is predictive and testable. Practical proof of the persistence and prevalence of mindprint in art is illustrated in 200 of the 400 artworks and rock art works listed in the Index (some of the further 600 demonstrations are posted on this site, and the three related sites).
Major, testable, conceptual, as well as minor attributes of types, each with their average occurrences, invariably marked by the standard axial grid, are listed in Mindprint (2014, Lulu.com), in the Introduction and in the Statistical test chapter.
Type 5 Priest or Aquarius, for example, is varicoloured (44%), horizontal (30%), in active posture (31%), and among the four large chracters (24%) on average in all artworks [the list of known features, and known average frequencies, was extended by new discoveries in Stoneprint, and in editions of Stoneprint Journal, in 2018, and 2019; see extracts on http://www.stoneprintjournal.wordpress.com].
Type 10 Teacher or Libra has an arm or arms in V- or W-shape (53%) and holds a staff (34%) on average in all artworks.
Based on overwhelming statistical and geometric evidence of the collective, universal, subconscious sequence of optional attributes in inspired art, and of the conceptual relationships between the optional elements of each type, the tables of myths, icons, constellations and concepts in this study are proven.
They describe the standard structure of visual expression, as an involuntary art code arising from subconscious inspiration.
Additional variant expressions of each type are also considered, for example type 15 Maker or Gemini as a rope (33%) and/or bag (21%), and/or creator (such as Ptah), and/or smiting (16%), and/or doubled as in the concept of Gemini (8%) [however twins is a feature of type 4 King or Pisces], and/or canine, and/or with a hip wound, and/or in a boat shrine (of minor percentages). Identification of types rises above 90% if these variants (discussed in the Attributes section, Tables and captions) are considered together.
(Excerpt from the Introduction to Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com, 266 pages; 100 pages of context and explanation, 200 illustrations. The book is on mail order from Lulu in the USA at $29 plus $8 postage ($37, about R370), and at presentations in South Africa at R250. Order directly from Lulu, not from other websites that may add their costs to the price.
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.
Here are some of the 200 structural analyses of art, rock art, artefacts, and reflexology examples, from the book Mindprint (Edmond Furter 2014, Lulu.com); and some artworks sent to me by readers and web visitors.
Illustrations and tables identify typological characters, confirmed by their peripheral sequence, and the axial grid between their eyes, and the tri-polar structure in the centre, usually marked by some limb joints in specific places.
See examples of the standard multi-layerd mindprint structure, in artworks styled as ayahuasca art, and peyote or mescaline art, compared to some Lapp drum skin art, and some works by Salvador Dali, at http://www.mindprintart.wordpress.com.
That page demonstrates again that art does not ‘come from’ drugs, or trance, or constellations, or diffusion from any particular culture.
The structure in cosmology
No observer could see this view of the sky, yet it reflects the structure of cosmic concepts as expressed in all complex artworks (and building sites, see Stoneprint 2016), of all cultures and Ages.
Ecliptic projection is the most holistic map of time and season to a flat surface, to which we instinctively add analogous natural and cultural attributes, thus re-expressing archetype on the stellar canvas.
Astronomy is not the origin of archetype, just as classes of natural order among species, human tabulation, opera and artworks, are all incomplete expressions of aspects of archetype. No expresssion, and no medium is ‘original’. Since myth and astrology are generally known, this study uses mythic and zodiac (ecliptic equator) labels (not ‘signs’), to demonstrate archetypal structure in art.
Constellations are here divided by the galactic cardinal (cross) structure, and by unequal angles aligned to our subconscious visual structure of sixteen types as revealed in artworks (UPDATE: by March 2018, the database of artworks had risen over 600, and statistically tested features to 265. UPDATE 2019; The table of recurrent features, and global averages, was enlarged in 2018 and 2019. See later posts).
The band of figures around the ecliptic favours pairs of opposing and complementary figures of near equal extent, supported by two, three or four adjacent constellations (decans) each. Constellation figures follow gestalt rules (perceptive wholes among parts) by connecting nearest and largest stars in stick figure form, favouring lucida (brightest stars as visual anchors). Constellations do not have their ‘eyes’ on an axial grid, but artworks do (with the two constant exceptions of type 11 Womb or Virgo with her midriff womb on the grid, and type 12/13 Heart or Leo with his chest or heart on the grid). Art does not “come from” the sky, but constellations come from collective subconscious wisdom, forming an independent medium, equal to art, ritual, and other media.
Most available star maps are projected differently, around the celestial (daily rotation) polar axis (pC and pCs), with a celestial reference grid which is continually updated to keep track of the slow migration of earth’s rotational poles and equator against the stellar backdrop.
The axial centre is analogous to the Ecliptic Pole, an imaginary axle for earth’s yearly orbit around the sun (which appears to us as the sun’s orbit passing through zodiac constellations). Pole E south (pEs) is always directly behind pE in inspired art. These poles are static, and could move only if the earth’s orbit around the sun, or the plane of the whole solar system changed.
Meteorite impacts or solar rotation wobble may have caused an ecliptic offset of about one degree in the human era.
Poles C and Cs are the celestial poles. The northern is currently at the hoof of the loose foreleg or jaw, over the galactic gate between Gemini and Taurus.
The southern is currently nearing Hercules, over the galactic centre (which is between Sagittarius and Scorpius). Both are currentlyh about 23.4 degrees from the ecliptic pole (axial centre). These poles are visible in the sky due to earth’s daily rotation, appearing to us as stellar rotation. Most sky maps and grids centre on one of these two celestial poles. Here both are shown, as if the sphere were transparent, just as artistic inspiration expresses our mindprint. The celestial poles slowly swing around the constant ecliptic pole, the path of their former positions here marked out by arrow tracks. Most cultures divide the celestial equator (not shown here) by 18, 24 or 36 bright stars or asterisms (small open clusters or groups of stars) as hourly markers, named decans.
The Galactic Poles, 11p or Gp, and 4p or Gsp, are static, between and just north of Virgo and Leo (above), and between and just south of Pisces and Aquarius (appearing also‘north’ if seen on a transparent sphere). The galactic equator is visible as a concentrated band of stars in the sky (shown here by northern and southern oblique circles, offset above and below). The galaxy around us is angled against the plane of the solar system by about 63 degrees. The imaginary axle through the plane of frozen rotation of the galaxy is an invisible concept.
Astronomers cite star and planet positions on a celestial grid, using the current spring equinox (here at the bottom) as a zero point, and either the north or south celestial pole as the highest point (here right or left of the centre). The celestial poles (and thus midsummer) have moved in the last 7000 years or more, since about BC 6300 or earlier, from between the two other poles (when the three poles formed a line at 11p, and the southern polar trio likewise).
Earth may have had higher obliquity (tilt) then, perhaps 26 degrees, so the celestial ‘swing’ is ever tightening due to some righting (earth’s spin is moving more upright to its orbital plain). Precession moves counter-seasonal, against the direction of the yearly sun cycle, and also moves the equinoxes (spring and autumn ecliptic crossings) at the same rate in the same direction. The summer meridian (north-south line) by definition follows 90 degrees after spring.
Dates, angles and rates of movement in distant millennia are uncertain, despite scientific assumptions applied in astronomy automation.
Science assumes obliquity to remain within small margins, in a predictable cycle of its own, yet there is some evidence of prehistoric high obliquity. The rate of precession is also known to change, yet assumed in science to remain nearly even (see an article on the supposed Gobekli Tepe ‘zodiac’, where the precession curve is discussed, onhttps://stoneprintjournal.blog/2017/06/08/gobekli-tepe-art-is-not-a-zodiac/ ). This study does not use astronomical dating older than about BC 3000, but uses relative dating instead, such as ‘Age Taurus 1’. Only one artwork hinting at Age Gemini was found (see a Niaux Ice Age bison herd), and none tagged to a supposed Age Cancer, Age Leo or earlier. Celestial polar markers were found only on or near the Leo axis (Age Taurus), Cancer axis (Age Aries), or Gemini axis (Age Pisces). These tags mean only that some aspects of each artistic inspiration is framed by a particular Age or era, just as we tell time by an approximate number of minutes after an hour. Many polar markers are between two of these axes, taken to imply ‘some time before the next transition’, just as we tell time by an approximate number of minutes before an hour. Captions in this study note these in-between markers as Age Taurus-Aries, Age Aries-Pisces, or Age Pisces-Aquarius, implying sometime during the last two centuries before and during an Age transition.
Since Age Aquarius has not yet started at the time of writing, the inspiration of works tagged as Age Pisces-Aquarius refers to the current era. Where a series of celestial polar markers appear in art, like a calibrated gauge, the concept of Ages is usually part of the general theme of a work, yet it could not be read off as a scale, partly since the angles of mindprint in art are not regular, and since inspirational time is outside historic time.
Mindprint structure in natural reflexology
We ‘see’ with our eyes, brains and nervous system.
The geometric centre of opposing nerve links, or symmetrical pole of nodes, is not in the centre of the iris, but offset by about 20 degrees (taking the median ring of the iris, about where the lung, the back and other organs are marked, as a hemisphere (of 180 degrees, and the outer iris as folding out a third of the ‘underside’, adding up to about 240 degrees). Right and left eyes are near identical, but contra-rotating and ‘geared’ or mirrored between the heart and bronchial axes.
Markers for the conceptual celestial poles are uncertain. The horizontal plane of the body, on the Leo-Aquarius axis, tags the orientation of the human iris and body to Age Taurus1 -Taurus2, which is also the orientation and era tag of many rock art works, and of alchemical art in all Ages. However the centre of the human iris, perpendicular (90 degrees) off the galactic polar axle, tags the iris to Age Pisces-Aquarius, our current era. These two transitional era tags may imply that our physical features are oriented outside the history of extant (preserved and still available) expressions (see the Archetypes section). They do not imply that we acquired consciousness in any particular Age or era.
Ages are named after the position of the spring equinox, the season of highest biological activity. Taurus retains some attributes of spring, despite having lost the equinox about BC 1500.
A Babylonian clock
Type 2 Builder or Taurus, decan Auriga-Orion as a bird on a forked staff, and an arrow. Between 1 Builder or Taurus, and 15 Maker or Gemini, in the galactic gate, is a squatting and backward shuffling dog, instead of a bull or healer, marking spring in Age Gemini-Taurus or Age Taurus1. This spring dog, sometimes at the opposite autumn equinox, or at midsummer or midwinter, appears in some cultures as a baboon or dog-headed baboon (see the Dendera zodiac in the Decans section). Canis Minor was on the celestial equator in Age Taurus, hinting that a former spring marker was adopted from Gemini, then reverted back once spring had moved into Aries and the celestial equator lay over the eye and rump of Taurus instead.
Precessional markers usually face retro (rearward), to oncoming Ages, as all these figures do, and as hourly decans do. Retro figures are usually monstrous versions (see posts on decans). The boundary stone may have been a public or court clock, perhaps marking sunlight hours by the shadow line (terminator) along its conical face. Its three polar or planetary markers on top could tag orientations for spring, to one extreme for summer, back to the spring position in autumn, and to the other extreme for winter. A conical dial requires technical thought and some trials, perhaps by technocrats who, like astronomers today, do not care for artistic or mythological images. When artists have free reign, the mindprint sequence and structure overrides the conscious symbolic programme, or at least survives the commission.
This work is a zodiac in the sense that clocks have divisions that could be decorated with concepts or constellations. The artist probably understood the given icons as composed by convention, as modern astronomers do. Like all artists he probably did not know that inspiration contains a sequence and geometric structure independent of conscious meanings or symbols. The major figures here are defined by shrines or altars, some bearing omphali (cones with rope patterns), each a navel or solar plexus of a place or direction. These altars could mark former Ages, places, hours or months, but are initially, and ultimately, subconscious ‘concepts’.
If updated today, the spring dog, baboon, bull, ram or horse would sit between Pisces and Aquarius, over the spout of the type 4 King or Pisces Cetus (Whale) monster.
The elephant trunk, sleeve, knife, axe or lamp over type 3 Queen or Aries, expresses Andromeda and Triangulum, confirming the Hindu motif of the same shape (see Indian churn groups in another post).
Type 11 Womb or Virgo, as its decan Bootes, is a circumpolar U-shaped staff top with two heads. The celestial pole is on the Bootes jaw of the staff, on the head facing 12 Heart or Leo, marking midsummer as freshly arrived in Leo from Virgo (by precession), confirmed by the Geminian spring dog arrived at 2 Builder or Taurus (end of Taurus in seasonal terms). This spring dog has yet to shuffle over the bird staff and arrow group, implying that the Pleiades marked the idea of spring even before it had hosted the spring equinox, unless the inspiration or the commission was conservative.
Other celestial polar markers provide for future Ages and aeons. Some are in the claws, beak, legs and tail of Leo-Cancer Ursa Minor retro as a retreating scorpion. The bears make good scorpion concepts and stick figures. In Age Taurus they may have figured the popular Babylonian Scorpion Woman, summer to a Scorpius autumn.
The polar trio adds markers to the polar gauge, confirmed by the crosspiece of an ankh-shaped club adjacent to the type 5 Priest or Aquarius spear. Archaeological dating favours the earlier, Age Taurus dating, making this one of very few works in this study to speak the ‘old heaven and old earth’ mindprint grammar.
A lotus snake rain bag
Type 2 Builder or Taurus, decan Pleiades as a rain priest holding a rain flower bulb enclosing a snake, in a figurative linear set, doubled and mirrored by a heraldic linear set (Egyptian Dendera crypt north mural with lotus bulbs. E Chassinat; Dendera temple. Mindprint analysis by Edmond Furter). The kneeling posture is typical of Perseus, one arm upward to control rain and a Medusa head in a bag. Type 3 Queen or Aries is a hand and absent head of a djed pillar with arms raised, more typical of its opposite 10 Teacher or Libra, but with a long neck as usual. Taurus and Aries sometimes flank the mystical basket (see a Roman sarcophagus), here the djed pillar, as in the Osiris, Nebuchadnezzar and Moses legends of a trunk coffin or basket.
Type 10 Teacher or Libra is marked on the eye of his snake staff. His own head appears after 8/9 Healer or Scorpius (neither confirmed by opposites), thus he stands in for 8 Healer or Scorpius, decan Ophiuchus (Serpent holder). 1 Builder or Taurus as a knifeman defends 15 Maker or Gemini as a deceased soul against the Apop snake at the gate, for which the bulb snake stands in. In a rare coincidence with constellation shapes, or visual feedback (conscious recognition of a similarity between myth, icon and art), the bulb’s shape and angle expresses Taurus Hyades (Bull head), from its V-shaped face, along straight horns, to the stars Taurus Auriga alpha, El Nath (Horn), nicknamed Nail of the sky (Alpha Aurigae in astronomy), and the prior tip of Orion’s club. If the reclining horns are connected by a semicircle, as here, and as in buccranium solar discs, the rounded tip touches the gate. This gate is the annual crossing of the sun over the galactic river, nightly peril in mythology, and one of the four structural points of cosmology. The jaw end of Taurus Hyades extends into a stem, sometimes figured as a chin rest (see a forked staff and arrow in a Babylonian engraving), down to Aries Cetus tail. The lotus stem bends back around to the 3 Queen or Aries djed pillar base, tying up loose ends of the inevitable disjunction between conceptual order, decanal order and constellation order.
The bulb snakes, of which some technological assumptions such as ‘ancient lasers and DNA manipulation’ have been elaborated by some authors, are no more enigmatic than thousands of surreal rock art works. The bulbs are conceptual and spiritual mechanisms, ophiotauri (cow snakes. See an animal with entrails for a head with bee people). Healers describe rain animals of varied shapes with shiny skins, lured in dreams from waterholes, led by sky ropes like zeppelins, and gently milked (Bleek, cited in G Spiller; Origins films, DVD. Wits University). These visionary shapes, though resembling hippopotami, are all named ‘snakes’. Rain animals are controlled by healers in the guise of 1 /2 Builder, decans Auriga (Artemis), Orion, or Perseus (see the Narmer palette in another post).
Their opposites and cardinals also sometimes appear as snakes, dragons, bags or churn groups (see 8 decan Ophiuchus, Serpent holder, or Horus and Set turning the pneuma lung pump by lotus flower stems. See Indian lotus flower churns with snake ropes on lotus petals. See Mexican tree pillars. See a Fafnir ribbon-dragon and braided tree).
Type 3 Queen or Aries in the upper register is a cartouche under Maat ostrich feathers, usually identified with its opposite, 10 Teacher or Libra. The axial geometry is compacted by the linear arrangement, typical of decans with calendric, pantheonic and theological elements.
Repetitive upper register emblems or hieroglyphs are place holders for emerging attributes. The Dendera crypt south mural is near identical, but with a double imprint and two antithetical rain bulbs. The artists as usual were unaware of the extent of the underlying sequence and pattern in nature and culture.
Celestial polar markers are uncertain, but the horizontal plane between the 14 and 15 axes, tags the inspiration to Age Aries-Pisces, incidental with the Ptolemaic era.
Fish people as swift people
Type 1 Builder or Taurus, decan Orion as a bird, fish or swift person (Easter Island, Hau Kota boulder engraving. Bradshaw Foundation.
Mindprint analysis by Edmond Furter). For lack of figures, the artist added articulated (linked-in) fish in the tails of other fish. A figure extending below the 4 Pisces human feet is implied by a tail remnant below, hinting that the human emerged from a seal shape. The work is on a 3m boulder, but in a compact style, comparable to carved palettes (see fish people in South African beach pebble palettes). Type 4 King or Pisces resembles Rapa Nui (Easter Island) bird people, developed in isolation from other cultures, yet these figures are recognisably swift people, some with bird beaks, figured as swallows, penguins or seals on other continents.
Galactic poles are remarkable for marking an isolated human head (left) and a human hand. Celestial poles are set by the nose and forehead of the octopus person, and a probable vertical plane, to Age Aries-Pisces, typical of palettes and of work of the last centuries BC, yet this work may be Age Pisces, and the inspiration thus retro. Another identification sequence is possible, also typical of palettes as double-sided, flip-over or contra-rotating expressions of the two spheres of our eyes, hands, brain and perspective.
Type 5 Priest or Aquarius as Nelson Mandela (Mexico, Cuajiniciulapa Mandela Day festival mural, by South African artist Eljana van der Merwe and a Mexican university group. Round hut photo rollout by Eljana. Typological analysis by Edmond Furter).
Type 5 Priest or Aquarius often appropriates attributes of opposite and adjacent types (see a USA Piedra Pintada hand-drawn rock art copy in another post) and lends some attributes to other figures. Mandela is a Xhosa, an eastern Bantu tribe with some admixture of Bushman genes and language. He is also the integrator of the highly diverse South African nation, with a half Portuguese wife (see a Bushman man and Portuguese woman as Adam and Eve in T’Kama Adamastor), thus Mandela is a ‘painted’ (varicolorued), ordained (priest) figure, incidental with attributes of the type, and the South African rainbow flag. As herder, lawyer, chief, terrorist, prisoner, negotiator, politician, president, Nobel Peace Prize recipient, culture hero and icon, Mandela expresses type 5 Priest or Aquarius, noted as priest, baptist, undertaker, shape-shifter and angel in the Tables and other images. Popular figurines feature Mandela with prior president FW De Klerk, who expresses the type 4 King Pisces feature of a twin (see Tarot trump 4:19, distinct from the unequal twins of type 15 Maker or Gemini). Here, 15 Maker or Gemini is a large mask (face. See Salvador Dali; ‘It just popped up’. Type 1 Buidler or Taurus, decan Orion, is a tower (tower). Type 11 Womb or Virgo is probably on the Mexican woman’s womb, cropped off the photograph (the artists noted that she was not intended to represent Mandela’s second wife from Mozambique, Graca Machel). Celestial poles on Mandela’s ears (not usually included among limb joints), and the horizontal plane, tag the inspiration to Age Pisces late, incidental with his implied third eye and the implied sun behind him as Pisces (see Tarot trump 19, Sun), and furnace themes at the lighthouse and hut. Archetype does not respect the artist’s conscious mind or agenda, but uses both to imprint itself. It also appears in commissioned works and collaborations, as this work is reported to be.
Compare this artefact with Egyptian cosmetic palettes with bowls, as in the Hunters palette in another post).
Type 13 Heart or Leo’s opposite at 5b Priest or Aquarius, is a flamboyant figure in active posture as usual, and 5a Priest or Aquarius is a stylised waterbearer. Leonine and Aquarian types are doubled, as they are in mindprint art, but Taurus and Scorpius types are not doubled, hinting at jumps between concentric registers.
Type 3 Queen or Aries is an antithetical dragon or snake, as usual, but its opposite 10 Teacher or Libra is a man under a horizontal angel, more relevant to the concept of 3 decan Andromeda and Perseus than 10 features. In turn, 2 Builder or Taurus is a dragon with a long tail, more relevant to its opposite 9 Healer or Scorpius, which figures a hero with one arm in and one out, a timid 2 decan Perseus.
Thus some opposites are swopped, and parts of the sequence jump by 180 degrees, or parts of the sequence are flipped around.
Celestial polar markers on a hand and feet, and the likely horizontal plane, tag the inspiration to Age Pisces.
A rare kind of tyhpe 15 Gemini in Australian rock art
Australian Elivna pavement engraving (ATNF. CSIRO. Mindprint labelling and axial grid added by Edmond Furter). Type 15 Maker or Gemini [ge15] is probably a kangaroo or wallaby with a pouch (the type often has a bag, including some marsupials).
Dingoes in Australian rock art
Australia does not naturally have large felid, so dingoes sometimes express type 13 and/or 12 Heart or Leo (felid). Here, type 6 Exile or Capricornus could be a dingo, or dingo hunt quarry, or skin.
Note that the characters, and their attributes, and sequence, and relative spacing, is from archetypal inspiration, not from constellations.
Thus the sub-type or decanal type 15 Maker or Gemini, decan Canis (canid), is sometimes a dog, or with a dog, or attacked by a dog (best known as the Fool emblem, see Tarot trump 0, Fool, and Tarot trump 15, world creator). See myths of Gula.
However small canines also often express 14 Mixer or Cancer, decan Ursa Minor, or rarely its opposite 6 Exile or Capricornus (as it seems to do here, although it could be a hunt victim in stead of hunter in this position).
Australia does not have large felines, so a dingo in rock art may express type 13 and/or 12 Heart or Leo, with its heart instead of its eye on the axial grid in 85% of instances.
In an Australian rock painting, a dingo hunting a kangaroo expresses type 13 Heart or Leo, with its heart on the axial grid. I do not include it here, since it is in a blotchy ‘late white and red’ finger-painted style.
The types are in their standard sequence, with their eyes (with the two standard exceptions) on an invisible axial grid:
01 Builder Taurus; Hunting dingo, or kangaroo baby.
02 Builder or Taurus; Large spirit or rain woman (rain, priestess).
03 Queen or Aries; Long and bent arms instead of its more usual long or bent neck.
04 King or Pisces; Fish (fish, a rare feature). And a person (doubled).
05 Priest or Aquarius; Lines of dots (varicoloured. Here hidden by the label), large (large). Both its eyes are on the axial grid, opposite two Heart/Leo types.
06 Exile or Capricornus; Dingo or saurean.
07 Child or Sagittarius; Person, or half-animal, or skin (bag).
08 Healer or Scorpius; Large man (large).
09 Healer or Scorpius; Man jumping (arms up, trance?).
10 Teacher or Libra; Turtle or a skin, arms in V position (arms up).
11 Womb Virgo; Person’s womb (womb).
12 Heart or Leo; Person’s heart (heart).
13 Heart or Leo; Animal (felid proxy?).
14 Mixer or Cancer; Person.
15 Maker or Gemini; Kangaroo (rampant), white (white face), mother with a pouch (bag).
The axial centre may be a jaw (limb-joint). The ‘celestial pole’ is on a kangaroo paw (limb joint). The ‘celestial south pole’ is on the jumper’s paw (limb joint). These markers place ‘summer’ in Gemini, implying ‘spring’ in Pisces, and the cultural time-frame in Age Pisces (the last 2000 years up to 2016), the era of the work. Most art is expressed in the era preceding the work.
Type 15 Maker or Gemini as a white figure in a tight churn group, in a double imprint (Australia, Djuliri emu at a tree. Mindprint analysis by Edmond Furter).Two spheres, three paths
The type 15 charcter here is damaged and indistinct, but the position of its head is clear. Type 14 Mixer or Cancer is a giant emu with rearing neck, egressed away from, instead of ingressed to the centre as usual.
Elongated or split canvases seem to induce double imprints, usually separated by a tree or rope (see a USA Utah image at theme 5) or cleft (see Chauvet cave, and Trois Frere cave). One of the galactic equators in each sphere is shared, as usual in double spheres touching near the 4-5 Pisces-Aquarius polar axle, or the opposite 11-11-12 Virgo-Leo polar axle.
To visualise the double sphere, focus on the two irregular primary equators, which are drawn in angular, point-to-point style for clarity in this study. The language of dreams and inspired art is a compromise between subconscious structure, myth, images ready to hand, and conscious logic. Celestial polar markers are uncertain, but a headdress and the vertical plane in the left sphere, and a hand in the right sphere, both tag the inspiration as Age Pisces-Aquarius, our current era.
Australian world man
Reputed Australian rock engraving (posted by Andrew on Imgur and on grahamhancock.com, here with tentative labelling by Edmond Furter). The figures are probably without exact spacing in the sketch. Curved surfaces add to that problem at the scale of 10m, though not in smaller works where the artist could remain in one position. Relief raises the possibility that it is modern pseudo rock art. So does the copyist’s interpretation of the large outline as a map of Australia.
However, all inspired art probably expresses mindprint, even if the copyist made up the image. The work has some cosmological elements. Here is a tentative typological identification of the figures (noting archetypal features):
02 Builder or Taurus; Two fish (very rare in this position).
03 Queen or Aries; Animal.
04 King or Pisces; Fish (fish).
Man’s foot (limb-joint).
05 Priest or Aquarius; Man in a world map (human, active, horizontal, large).
06 Exile or Capricornus; Animal, far out (egress).
07 Child or Sagittarius; Bulge (bag or juvenile?).
07g Galactic Centre; Map features?
09 Healer or Scorpius; Fish with a long tail.
10 Teacher or Libra; Fish with a prominent fin.
11 Womb or Virgo; Turtle, axis to her shell (womb).
11p Galactic pole; Turtle leg (limb-joint).
13 Heart or Leo; Whale?, axis to his chest (heart).
14 Mixer or Cancer; Fish (more often a bird).
15 Maker or Gemini; Man spearing (smite) or netting (rope, bag), with a bird decan (bird).
15g Gate; Gateway (path).
If all six axes crossed in one point, that would express the analogous ‘ecliptic pole’, and confirm that the artist did the usual inspired triple-layered magic that artists do. The galactic polar axle also crosses there, as if it were one of the three axles inside a transparent ‘flattened beach ball’.
The celestial polar axle could be on the horizontal plane of most of the animals, and thus near the 15 Gemini -7 Sagittarius axis, which is midsummer in Age Pisces, our current age, with the spring equinox in Pisces. The prominence of type 5 Aquarius may indicate the end of Age Pisces (cosmologically since 2016), as in some recent artworks where the celestial axle lies between the Gemini-Sagittarius axis and the Taurus-Scorpius axis. The Pisces-Aquarius transition date I tentatively calculate as 2016 in the book, based on an eclipto-centric planisphere (a star map centred on the ecliptic pole, or our annual orbit, not our daily rotation as most star maps are), with constellations (not signs) divided in a repeating 20 /30 /40 -degree sequence (not each 30 degrees). That structure underlies cosmology, myth and art, since all are archetypal.
Artworks keyed to the temporal framework of transitional eras, fluctuate between two Ages. However most artworks are framed by the preceding Age, as religious art during Age Pisces was mostly keyed to the end of Age Aries. A clear image of the engraving would probably offer more ‘hard points’ of typology and spacing, and may overrule this tentative identification.
The semi-geonetric figure on the side (below the imprint) is a ball person or therianthrope, common in American rock art.
Regarding conservation, all art is valuable due to its various therapeutic functions, yet dispensable, since it is infinitely recoverable.
Type 15 Maker or Gemini as four ancestors with a skull and an arm (Mexican seven caves in Mt Mashu, of Hopi myth. After Wikimedia. Typology and axial ocular, eye-to-eye grid by Edmond Furter). The skull is a kind of white face, typical of 15 Maker or Gemini (often a face). The arm totem may express the concept of smiting a twin or rival, or double-bodied, as multi-armed principles (gods) in Indian art do.
The churner on the mound in a canine skin is in the gate, between the caves of 15 Maker or Gemini, and 1 Builder or Taurus, thus a type of Gemini decan Monoceros and Gemini decan Canis (Dog), where a churn group is often figured. The curved mountain sigil or glyph on top expresses a secure homestead with a blind entrance, as in the Egyptian hieroglyph for house. Chinese feng sui has a similar shape as an ideal home site. See a hill cave and gate in a Rosicrucian emblem at theme 6, and in movies such as Stargate.
Cultures and scientists perceive archetypal vision as tribal legend or history.
Celestial polar markers on an elbow and a staff tag the inspiration as Age Pisces, our current Age.
Overworked mirror of art and nature
Type 6 Exile or Capricornus as Mercury in a fount on a planetary hill, over a cave of mystical marriage (Cabala as mirror of art and nature, Alchemia, 1615. Mindprint analysis by Edmond Furter). The mindprint axial structure is not symmetrical to the artist’s conscious design, confirming that archetypal featues and axes are subconscious, despite intensive conscious symbolism in the overworked scramble of alchemy. The Rosicrucian emblem reads to its intended viewers as a variation on the allegory of the mystical marriage of Christian Rozencreutz, with seven processes of alchemy, under seven planets. Even standard astrology is scrambled here (in a semi-circle, with signs out of sequence), but the subconscious structure is unaffected, as usual.
The mindprint sequence ropes in four personified planets, a phoenix, three zodiac figures from a planetary ‘house’ sequence, two alchemists and two rabbits.
Type labels; Characters (noting archetypal features);
01 Builder or Taurus; Blindfolded quester, following nature and instinct to the hidden work.
02 Builder or Taurus; Sign Aquarius (rain, here due to scrambled astrology).
03 Queen or Aries; Sign Aries (ovid, archetypally correct).
04 King or Pisces; Saturn as king (king) of time (more typical of 14). And sign Pisces (archetypally correct).
04p Gal.S.Pole; Moon and Jupiter. And between signs Capricornus (as a fish centaur) and Cancer (the analogous two constellations hosted summer and winter in Age Aries. The analogous two types, 6 and 14, both have polar functions between the ecliptic and celestial planes).
05 Priest or Aquarius; Phoenix (active posture, ascension), dappled (varicoloured) world spirit (world). Under sign Gemini (irrelevant).
06 Exile or Capricornus; Mercury (some of its mythical features are relevant to 6); under signs Gemini and Virgo (irrelevant). His kicked-out leg is the Venus part of his Mars-Venus sigil (see dance illustrations in the Hypnerotomachia Poliphili, discussed in Mindprint); his feathered headdress as Mars; his fount as ‘bath’ for planets, perhaps winter in Age Aries. The artist and the tradition did not consciously understand Mercury as potentially a multi-headed or horned Pan or Paris.
07 Child or Sagittarius; Bauble (bag) on the sun’s staff. Under sign Virgo (irrelevant).
07g Galactic Centre; Sun’s foot (limb-joint), also figured by two eyes on a sun face on the dome, one of which marks the ecliptic pole. Under sign Leo (irrelevant).
08 Healer or Scorpius; Mars (irrelevant). Under sign Sagittarius (irrelevant).
09 Healer or Scorpius; Venus (irrelevant), V-posture (arms up). Under sign Scorpius (archetypally correct).
10 Teacher or Libra; Scales (balance) of sign Libra (archetypally correct), including a beam (staff).
11 Womb or Virgo; Bull of sign Taurus (irrelevant), axis to her belly (womb).
13 Heart or Leo; Man, axis to his chest (heart), finding a route into the mount (interior), as difficult as for a camel to pass through the eye of a needle (see a camel eye on a ‘needle’ axis in Arabic rock art, and cattle in a U-gate, in Mindprint).
14 Mixer or Cancer; Rabbit entering a hole in the mount (more often a bear, lynx or bees).
15 Maker or Gemini; Rabbit (rampant, more often canid).
15g Gate; Alchemist’s hand (limb joint), at the staircase (juncture).
Coincidences between alchemy and mindprint derive from their respective holographic properties as subconscious expressions of archetypal order.
Inspiration favours prepared minds, particularly of students of nature, but not necessarily of learned minds. The supposedly ‘secret’ tradition of alchemy is based on chemistry, thus on glimpses of natural structure, a means to transformation and an end in itself. The craft’s conspiracy aspects have been overrated, and its structuralist aspects (leading to the discovery of the periodic table) have been underrated.
Manifestos, tracts, laboratories and institutions are perpetually distracted from the goals of transformation by conventions and technology, as the consciously symbolic layer of this work is distracted from natural structure.
The galactic pole is on a corner where four elements meet. Seven celestial polar markers on the king’s shoulder, elbow, hand and staff, and on the queen’s trefoil and jaw, form a gauge calibrating millennia through Age Taurus-Aries, Aries, Aries-Pisces, Pisces, and Pisces-Aquarius. The vertical plane tags the inspiration as Age Aries-Pisces, the most recent Age transition, but about 1700 years before the work. As in all mindprints, only the wheels of the mill of inspiration could grind this fine.
An Age Aquarius world tree
Type 5 Priest or Aquarius as an underworld guide (Lapp drum skin drawing with ritual celebrants. Typological labels and axial grid by Edmond Furter). The drum cosmogram healing tradition had updated its visions with Christian elements, and its sun rooted in type 4 King or Pisces, in Age Pisces, the Christian era (see Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill in De Santillana and Von Deschend’s Hamlet’s mill; and critique of their ambiguous findings in Mindprint and Stoneprint). The flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era (which occurred in 2016). The ritual officials are named Juksakka, Sakarakka and Madderakka. Their rectangular fish pond or ice fishing hole has an astronomy counterpart in the Pegasus Square, here displaced to type 3 Queen or Aries (pool).
Type 10 Teacher or Libra is a tree or branch, as it is in a South African Amatola work (see Mindprint); but branches are more usual at the cardinals, 90 degrees from of 10; at 14 Mixer or Cancer, and 6 Exile or Capricornus (see cosmic crosses in Egyptian and Mexican palettes, and the Externsteine carving in Mindprint).
There is no limit to what artists could express, and what all people could subconsciously know, individually and collectively. Language, art, music and conscious or semi-conscious symbolic codes are all parptial expressions of human experience. Conscious experience could only partly comprehend nature or archetype. Making and viewing artworks (and rituals, divination, healing and other media), supports the human need to express, create, celebrate and share inspiration, styled in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, is as adequate or inadequate as any myth or art could be.
Celestial polar markers on a calibrated ladder, as a gauge, tag for a series of Ages, up to the hand of the central celebrant, and the hand of World man (a type 5 priest or Aquarius stand-in) at the Age Aquarius start, subconsciously setting the time-frame of the Age Pisces-Aquarius transition in iconographic and cosmological terms. This is one of very few works found to tag for Age Aquarius.
Dogs of a jungle paradise
Type 10 Teacher or Libra as a dog (canid), and 9c Basket Lid as a lid or wheel (Mexican dogs palette. Mayan culture. Typology labels and axial grid by Edmond Furter). A rare error in pairing places type 10 off the axial grid, with no counterpart at type 3 Queen or Aries; yet type 2c Basket, here a coil or backpack (basket), is opposite the 9c Basket Lid (it was labelled ‘ar’ for type 3 Aries in error, to be corrected in a future post or edition. See a basket lid with Buddha’s death in Mindprint). Lids, discs, wheels or mechanisms are typical of the four half-types (see a marble sarcophagus with a Cista Mystica, in Mindprint). The astronomical counterpart and antipode (spherical opposite) to the 2c basket or rope of the Medusa head (with mythical snaky hair, wrapped in a cloth by the hero Perseus), at 23 degrees north of the ecliptic, are the Lupus tail and Hydra tail, 23 degrees south of Libra. Thus the ‘lid’ is lifted on part of the mystery of the snake shrine god Serapis (which had temples in Greek, Roman and Egyptian classical cities such as Ephesus). UFO theorists may want to study these icons for clues on unidentified vortexes, lids, hats (sometimes blue), snakes, wolves, black dogs, centaurs, healers or scaly teachers leaning on two sticks, that tend to appear in art in this particular conceptual position.
Spring and autumn have long since left the Pleiades and Scorpius, yet the petrifying eyes of Taurus Perseus Algol Medusa, or mystic basket, remain fixed in archetype, and thus in myth and other media. It is opposite at the type 9 Healer or Scorpius, decans Lupus tail and Hydra tail, or Basket Lid; equally fixed in various cultural media.
In Hindu and Buddhist theology, turning of a pearl or marble initiates the dharma wheel, or layers of law. The pearl of conceptual motivation also applies to type 9 Healer or Scorpius, and the adjacent 10 Teacher or Libra as law enforcer wheel turner. They share Lupus as a decan. Some mythical doors are identified with 10 Teacher or Libra (see wheel-shaped Mexican caves above). The central disc may also figure an eclipse (typical of type 3 Queen or Aries), caused by sun and moon, the largest pair of natural ‘marbles’ or eyes.
Central woven vines or bark ropes may indicate an ayahuasca brew as trance inducer (see a separate post on ayahusca, mescaline, peyote, mushroom and chocolate art).
Celestial poles, here on a knot (juncture) and a jaw (limb joint), and on the vertical plane (orientation), tag the inspiration as Age Pisces late, the era of the work.
Ode on an arrowhead
I am preparing some regional or ‘cultural’ editions of the book Mindprint, to better represent the cultural context of arworks and building sites representing thousands of African, American, Near Eastern, classical and modern subconscious expressions of global ‘grammar’ or structure. These editions will include some classical and modern alchemical emblems and texts, and examples of the expression of cultural structure in myth and literature (Mindprint already has a chapter on a Mishnah verse); and more on the implications of the identification of subconsciously expressed archetypal structure for various sciences.
Below are some of my initial notes, followed by an alchemical poem of my own.
The first recorded use of the term mindprint is by Thoreau, who found an American flint arrowhead and wrote in his diary that it was an indelible “mind print” of man, along the erased footprints of men. Loren Eisely developed the term; “Mankind does not have enough evidence to determine exactly how humans came to be.” And in his book Immense Journey, he added, “…as though we stood at the heart of a maze and no longer remembered how we had come there… the human version of evolutionary events [is] perhaps too simplistic for belief.” Eisely also noted some of the illusions of science in Firmament of Time: “A scientist… remarked that past generations lived and died in a world of illusion. The unconscious irony [is] that this man assumed the progress of science to have been so great, that a clear vision of the world without illusion was, by his own time, possible… when Mendel was just about to be rediscovered… Science may have become misguided in its goals… of setting up artificial worlds.”
The mindprint rhyme
Crab or goat, snake or lynx, man or bird play numbered parts,
in the grammar of artists’ eyes and hands,
compelled to think and see and print our mark.
First and second a builder or bull-snake twists to juggle rain,
from a small bridge where swifts spin to a buzzing tower.
Here a basket of mystery may bear a monstrous head.
Third a meek dragon or sheep bends its neck to shield a queen.
Fourth a sun king squats in flanking frame, or princes play behind a garden wall.
Here a pillar rooted on an elephant or whale marks the current retreat of our spring.
Fifth an exuberant motley priest stretches benediction or judgement to the world;
fifth again, for good measure, may trot a horse,
where a number repeats to reduce the count that accounts for all things.
Sixth strains inward or away an anointed exiled sacrifice,
or in merry rampant dance looks fore and aft, counting appointed time,
its partner opposite likewise near or far from the core.
Seventh in a baggy skin grows a centaur child.
From under a large bridge our limb joints churn to their places in the sphere.
Eighth or ninth a strong healer bends his horns in healing pain.
Tenth a lord of nature balances the ways of the world on a staff or wheel.
Eleventh a pregnant woman nurtures an unborn eye in her womb.
Here a baby rooted on a pillar or chalice marks the current retreat of our autumn.
Twelfth or thirteenth prances or falls a lion,
his claws and fangs to feed the eye in his hungry heart.
Fourteenth strains inward or away a small figure mixing elements and counting time,
its opposite partner likewise near or far from the core.
Fifteenth and at the start, a maker and moulder ropes souls to the soil to smite the states of mind to order.
Central to the ragged round of sixteen eyes, lies the hub of their radial grid unseen,
bearing eight axes, and the eternal axle anchoring two wide spheres of limb joints,
bearing also a retreating axle between two stray joints.
Our three axle pairs anchor loops of eyes, and joints, and limbs,
as wheels hinge within wheels.
Steadfast as our mindprint are also the stars, in ritual step with myth and mutant history.
This is the grammar of artists’ eyes and hands,
compelled to think and see and print our mark on our place
in the mind and eyes and hands of the imprint of archetype.
-Edmond Furter 2015, revised 2019
Mindprint is sixteen recurrent character types, each expressing a cluster of optional archetypal features, and each feature at a specific fixed frequency globally; with the eyes or focal points of pairs of opposite forming an axial grid; surrounding five polar points of limb joints or junctures in specific sectors.
The eyes or focal points of typological characters are replaced by a heart and a womb, in adjacent positions; at type 12 and/or 13 Heart, and type 11 Womb. Characters form an irregular and ragged oval, at varied radii. The spatial structure is analogous to a flattened cosmic sphere of three planes (ecliptic, galactic and celestial), with polar features of the underside or ‘south’ visible as limb joints in certain positions.
One or both the ‘celestial’ poles is incidental with the position of the midsummer and midwinter solstices, as it was in one of the last three astrological Ages (or four mindprint Ages, since Age Taurus is doubled). Celestial poles move in an inward spiral arc around the ecliptic pole, analogous to precession, and the Age of the artist’s or builders’ culture, usually the Age before the work.
Four of the types are optionally doubled or single; types 1 and/or 2 Builder or Taurus, are opposite types 8/9 Healer or Scorpius; and types 5a/5b Priest or Aquarius, are opposite types 12/13 Heart or Leo. Type 5 repeats is number in the first magnitude series (some cultural media express two or three cycles of mindprint, where 5:20 and 5:21 are differentiated by their numbers). Thus the highest type number in the first magnitude is type 15 Maker or Gemini, however there are sixteen types, since label 5 is initially repeated.
Known magnitudes of the sixteen types are 0:15, 1:16, 2:17, 3:18, 4:19, 5:20, 5:21 (where the sequence changes to sequential numbers), 6:22, etc (from where the sequence is validated against atomic numbers in the periodic table, and against features of the I Ching, though not against the variant number sequences of divination sets).
The entire arrangement of five layers of structure, is subconscious and compulsive to artists, and independent of conscious and conventional attributes, design grids, perspective lines, and ‘conceptual’ meanings and conscious symbolism. Conscious ‘logic’ or rationalisation offers various layers of optionality to artists, builders and cultures, but the subconscious archetypal features remain standard in all cultures, areas and ages.
Mindprint was discovered in 2010, and its types, attributes, geometry, polar structure and correspondence with myth, emblems, the Tarot deck and astronomy (particularly hour decans or ‘lunar’ calendars) were assigned, numbered and tabulated by Edmond Furter, and published in the art analysis, anthropology and archaeo-astronomy book Mindprint, the subconscious art code, in August 2014 (Lulu.com).
After Furter, ED, 2014. Mindprint, the subconscious art code. Lulu.com
Terminology and data has since been updated in Stoneprint, and in Stoneprint Journal editions.
Update of typology labels, features, and global average occurrence (January 2019)
This table also serves as a standard format for testing and reporting the identification of subconscious, archetypal features in artworks, rock art works, building sites, or other media.
Site /Artwork,,,, expresses ,,,,
This ,,,,, in ,,,,, is noted for ,,,,,.
General themes in the work include types ,,,,
In any artwork, building site, or sequential craft set (calendar, gods, divination list, alphabet, emblems), characters form an axial grid by their eyes or focal points, and express about 60% of these recurrent feature clusters, with each feature at a measurable universal average frequency
Type; Character (archetypal features with average frequencies):
The axial centre or ‘Ecliptic pole’ is unmarked 59%, limb joint 24%, juncture 14%.
Midsummer or ‘Celestial pole’ is a limb joint 54%, juncture 24%.
Midwinter or ‘Celestial South Pole’ is a limb joint 46%, juncture 24%.
Solstice polar orientation is on the horizontal 50% /vertical 12% plane, or north-south meridian or east-west latitude.
Polar markers place ‘summer’ in Leo /Cancer /Gemini, thus ‘spring’ and the cultural time-frame in Age Taurus /Aries /Pisces, confirmed by a prominence.
The general theme of dispersed features is type __
Structural layers of expression are subconscious to artists, architects, builders, crafters, and members of any culture.
An analysis could be scored as __/75 archetypal features; __/16 axial points; _/5 polar markers; _/1 planar or cardinal orientation; _/1 correlation with the Age, or Age prior to the work; _/2 general themes; thus __/100, minus __ extra characters off the axial grid; total __%. The average analysis score is 60%, in a sigma range of about 0.4 (40% range), from 40% to 80% of known features. The scoring formula may change if more features are isolated.
Mindprint book summary
The introduction explains how to read the illustration labels (see a post and comments on www.edmondfurter.wordpress.com), and reveals the types and structural features in art. It also notes some aspects of their disguise.
Chapter A demonstrates six examples of the typological sequence, and explains structural sets in nature, myth, grammar and our subconscious.
Chapter B demonstrates the structure in our iris and bodies, and explains our structural perception, inspiration, consciousness, psychology and disguise.
Chapter C demonstrates the structure in our hands, and explains the co-incidence of structure in our bodies, culture, events and literature.
Chapter D demonstrates cosmic structure and explains structural cosmology, astronomy and astrology.
Chapter E demonstrates cosmic polar structure and explains structural time, Ages, archaeo astronomy, planets and spherical doubling.
Chapter F demonstrates artistic structure in a famous painting by Pierro de Cosimo (see below), and explains structural symbolism, artistic functions, initiation and esoterica.
Chapter G demonstrates a rock art painting process, and explains structural inspiration and compulsive expression.
Chapter H tests mindprint in two Egyptian decanal sets [Narmer and Dendera; see below], and explains conscious aspects of expression, as well as the Tarot trump sequence numbering.
Chapter J lists the attributes and concepts of the sixteen types, reduces these to tables, offers a format for artistic typological data, formulates a statistical test, tests 170 artworks, lists and explains the results. It also demonstrates how to identify visual types and archetypal structure in art, speculates on the possibility of prior discovery, and lists the few inherent ambiguities among some types.
Chapter K compares scientific and esoteric paradigms, illustrates natural ‘art’, and speculates on the implications of the discovery of mindprint for some sciences and crafts.
Chapter L demonstrates mindprint in 200 artworks (the book contains 214 examples in total), grouped by their dominant themes, and ordered to compare rock art against schooled art. Some notable details are explained.
The postscript explains how the visual types and structure were found. (see below)
How to read the illustration labels
The typological sequence and axial grid
The subconscious artefact and its disguise
[A] The figure sequence in our art
Comparing our semi-conscious sets
Animals, Myth, Grammar, Subconscious layers
[B] The structure in our eyes and bodies
Our eyes flash Boo; Oto-visual emissions
The vortex of visual inspiration
Gestalt and Occam
[C] The structure in our hands
Our inner and outer structures converge
Archetype dressed as culture
Literate structure in a Mishnah
[D] The structure in our cosmos
Our astronomical sets
The galactic and polar cross
40 [E] The three poles of time
42 Our calendric sets
43 Ages in art
46 Age Aries, Age Pisces, Age Aquarius
50 The typological spiral chart
52 [F] The structure in our art; Honey to mead
54 Conscious and subconscious meaning in art
57 Mystery and initiation
58 Instant culture, art analysis, doubled spheres
62 [G] The layers in our expression
64 Digging through paint layers
67 The double life of decans
68 Decans on the Narmer palette
70 Decans in the Dendera zodiac
72 The Tarot trump sequence
73 Compulsive inspiration and expression
75 [J] Holistic types 1 to 15
79 Typological tables
82 Statistical test of artistic types
84 Statistical test results
87 How to identify types and structure in art
88 Commission impossible
88 Duplications and conventions
89 Conscious recognition is elusive
91 Ambiguous types
93 Scientific and esoteric paradigms
96 Nature is also an artist
97 Esoteric structure
98 Implications for sciences and crafts
99 [L] Mindprint and sixteen themes illustrated
[Note; Type labels in the first edition used mythic constellation and hour decanal names, with the warning that typology is also in myth and strology, but does not arise from any media. Type labels have since been updated to generic social function labels; and the four half-types or Basket types have since been defined and demonstrated.]
100 1 Taurus Auriga, Orion; Rain diviner
110 2 Taurus Pleiades, Perseus; Rainmaker
118 3 Aries Andromeda; Moon queen, dragons
130 4 Pisces Pegasus; Sun king, Sun twins
134 5a Aquarius Pegasus; World baptist
148 5b Aquarius; World spirit
160 6 Capricornus; Pan
164 7 Sagittarius; Bag
170 8 Scorpius Ophiuchus; Giant snake holder
180 9 Scorpius; Giant in trance
182 10 Libra Bootes; Lord of the forest
188 11 Virgo; Womb
198 12 Leo Crater; King inverted
212 13 Leo Ursa; King’s heart
224 14 Cancer Ursa Minor; Time angel
232 15 Gemini; Creator and rope churner
240 15 Gemini Canis; Creator wounded
250 How mindprint was discovered
253 Acknowledgements, About the author
257 Index of rock art tested, Index of art tested
265 Graphics sources, Sources, References.
(Excerpt from Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com)
==== Comment from David Allen April 2015;
Thank you for the opportunity to meet you and to listen to your talk. What you said has sent me back to the drawing board concerning my knowledge of archetypes.
What had the most impact for me was your reference to the fact that archetypes, and even culture itself, are not some artificial “construction” born of this reality, but come from a pre-existent reality that “was” before the “big bang”.
The way you supported this contention by showing how virtually one single visual pattern is repeated (with some minor variations) through all works of inspired art (I think your use of the distinction “inspired” was essential here) stretching from as far back as the Ice Age into the modern era, across many nations, cultures, religions, belief systems, continents, and throughout history, and how it can be traced in the heavens, served to emphasise this point particularly strongly for me.
Although the idea of a “pre-existent reality” is not new to me, I have found almost no support for it. If anything I have come across only deep and virulent criticism of it and so have kept an open mind on the subject. Maybe it is a sign that I need to hang out with a better class of reading material.
I found your support of this notion very pleasing because it confirmed something that always made intuitive sense to me. It will give me much food for thought and reflection in the coming weeks and months because it will feed into, and influence to some extent, much else that I am interested in.
But probably the most important revelation was that your talk has shown me how much I still have to learn and how much work awaits me in terms of now having to unpack and discard much of what I have taken to be “true”, and then to refresh my conceptual foundation and belief system concerning a number of important topics.
I begin the task of reading and absorbing your book today. -David Allen.
Finding mindprint in a work of art is as simple as finding correspondences to any archetypally complete set or sets of about sixteen (twelve to twenty) items, such as pantheons (lists of gods), myth cycles, epics, emblems, lunar mansions, trumps, historic or fictional characters, constellations, heraldic devices, lyrics, or animals.
Researchers should tack characters in art to sets that they are familiar with, and use the mindprint axial grid and tables for confirmation (see the post What is mindprint, on this website. See Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com). Here is a shortcut method to finding the basics of the five layers of the archetypal art code;
 Identify a likely periphery of figures in a roughly elliptical arrangement.
 List the figures in their circular sequence, by any distinctive attribute, such as a posture, season, function, species, or device.
 Provisionally tag the list or the artwork, with likely type numbers, such as 10 Teacher for a figure with arms up or a staff, 12 or 13 Heart for a felid, 1 or 2 Builder for a bovid or tower, 5 Priest for varicoloured, skin paint or a hyperactive posture.
 Tag figures notably ingressed or egressed towards or away from the centre, as 6 Exile or 14 Mixer.
 Tag a pregnant figure as 11 Womb; and an adjacent major figure as 12 or 13 Heart (usually with an exposed chest), and the adjacent figure on the other side as 10 Teacher.
 Infer a clockwise or anticlocwise sequence, and provisionally complete the labellling.
 Count the number of eyes (for example 17), assume the lower even number (for example 16), subtract two (for example 14), skip half of this number (for example 7) between eyes, and draw tentative axes between each pair of likely opposing eyes.
 If three or more axes cross at the same point, find the likely 11 Womb, and a likely 12 or 13 Heart, and redraw errant axes by not using their eyes (unless their eyes also find counterparts across the axial centre).
 If three or more peripheral figures remain unaccounted for, assume a higher equal number (for example 18), and repeat the test with higher numbers.
 Resolve the sequence by splitting up or combining the major doubles (1 /2 Builder, 5a/5b Priest, 8/9 Healer, 12/13 Heart).
 Complete all the possible axes. Connect the equator from eye to eye (with the two exceptions).
 Find one or two polar markers between 11 Womb and 12 Heart, or between 4 King and 5 Priest, near the equator (not near the centre). These poles are often on limb joints.
 Find a polar marker nearer the axial pole, on or near the 15 Maker, 14 Mixer, or 13 Heart axis; which is often a limb joint, perhaps a jaw, vertical or horizontal from the axial centre or from one of the galactic poles. Connect this marker to the galactic pole to form a polar triangle (or if there is a marker on the opposite side, connect it to the galactic south pole).
 Mirror the polar triangle on the other side of the ecliptic pole. Polar markers are not always expressed. Infer the inspirational date (spring) from the type that precedes the polar axle (midsummer) by an ideal 90 degrees (approximate, not measured on the distorted grid).
 Apply the set of labels, one to each figure, and the four structural points, in sequence. Note that there is a choice of two labels (/) at the four major types if they are represented by only one figure (typical if the total is only twelve or fourteen);
The axial centre or ‘Ecliptic Pole’ is unlabelled to avoid clutter.
 Half-types (2c Basket v 9c Lid, 5c Tail v 13c Head) are usually off the axial grid, but within their sectors, designated by the axes of the two types that flank each of them.
 On a separate page, list the type numbers, with basic distinctive features or characters found in the artwork, to compare to other artworks, mindprint statistics, stories, myths or typological sets.
This structure applies to all artworks, in all cultures, in all ages, due to the structure of nature, perception, expression, and cultural media. Mindprint also applies to myths and legends, but it is difficult to extract to a subtext, due to typical fluctuation between characters, places, episodes, and time. In art, the time-slice of the story stands still, and the composition could be verified against the original, or reproductions in catalogues, books and electronic galleries, such as tourist image sites.
See a standard format for testing and reporting structural art or building site analysis, in the post on ;What is mindprint’ on this website.