Rennes le Chateau archetypal landscape includes Couiza. It is as complex as in the earlier, adjacent Bains. At Rennes the eternal structure is now identified in subconscious expressions at several levels of scale: in the church domain; church floor plan; and church mural statue group (see other posts). The same applies to cities, including Paris and London (Stoneprint Journals 3, 4). Priest Berenger Sauniere, like Boudet in neighbouring Bains, unknowingly served the global, subconscious agenda of all cultures, each in different styling.
Around Rennes les Bains valley is a ragged oval of higher sites, each characterised by nature, history, buildings and legend, as Bains priest Henri Boudet (1886) noted in puns and riddles. This ‘equator’ of sites makes the Sals basin a concave, lower sphere of waters ‘under the earth’, next to the plateau and knoll of Rennes le Chateau as an upper sphere. The Bains stoneprint diameter is about 3x4km, similar to Jerusalem, Rome, London, Paris and other building sites, but rural.
In the hothouse of culture and legends at Rennes les Bains and Rennes le Chateau, the eternal archetypal structure is camouflaged in an unusually wide range of styling. The structuralist anthropology model of optional recurrent features is identified at several levels of scale. Here is an introduction to Stoneprint Journal 6, and a map of the five points where the subconscious patterns in the two adjacent landscapes converge.
Example of structuralist art analysis, of a Hopi Candle Night ritual scene, and a Dogon painted mud relief mural. Members and students recognise several stock kachina characters, rituals and items, and Dogon myths. But artists, members and students of any culture, could now identify the archetypal features in any artwork by using the axial grid between eyes, and the list of recurrent archetypal features, on which culture is based (Furter 2014, 2016). The characters are not ‘constellations’.
Greek Cycladic islands salt evaporation pan bases often traced out planetary calendars. One terracotta pan bottom incidentally expresses the archetypal cycle of sixteen types in a rare axial grid. The rare design compares well with Egyptian polar decans (see another post on the Seti1 ceiling), but due to archetype, not diffusion.
Parliament Square lies on London’s axis 5aB Priest. Eleven statues of democratic leaders, form two thirds of a small-scaled but dense stoneprint cycle currently emerging here, probably awaiting five more iconic characters (on the blank axial lines in the map).
Most major symbolic sites in London lie along invisible axial lines. To maintain a sense of sequence, readers may tour chosen sites on each axis, outward or inward in turn; or combine a tour of chosen sites on adjacent axes.
Social groups always re-express a specific structure in every complex building site, including villages, temple fields, campuses and cities. Known…
Nature and culture both compulsively, subconsciously express five layers of eternal, archetypal structure that predate creation, and inform perpetual re-creation. Crop circles indicate nature at play. She uses biological shapes, and what we label ‘abstract’ angles and numbers, but they are as basic as space, time and archetypal meaning; what we egotistically label ‘concepts’ and ‘symbols’. Crop circles are lessons in humility.
A vulture and scorpion among the animals carved on Gobekli Tepe pillar D43, attracted several interpretations as a ‘zodiac’. However no coherent star map, observational record, or zodiac emerged. There is some consensus that four species on two other pillars could be seasonal ‘beasts’. As in artworks worldwide, in all Ages, the design subconsciously expresses the five-layered archetypal structure found in myth, ritual, building sites, calendars, constellations and decans.