Delphic Apollo sanctuary’s temples, features and spacing subconsciously express a stoneprint, or the archetypal set of types, their sequence, focal points on an axial grid, central or ‘polar’ markers, and time-frame orientation, as all building sites do. The conscious historic and semi-conscious symbolic layers are particularly rich here (see the typology list below). This post is an extract from the paper Blueprint (visit

In addition, the Delphi Apollo temple campus nestles in a larger scale stoneprint in the area (see note under 5b, and see tentative landscape plan analysis below), wherein it probably expresses type 5 (typical of assembly, colours, ritual, hyperactivity), similar to the Vatican City stoneprint as a smaller ‘gear’ within the Rome stoneprint (Furter 2016). Likewise, some Izapa stele engraving mindprints (such as the tree of life engraving) are part of a stele cluster stoneprint, which is part of a pyramid cluster stoneprint, which is part of a pyramid field stoneprint. Likewise, Teti’s pyramid group stonerpint, nestles in the Sakkara pyramid field stoneprint; and the Gobekli Tepe engravings form part of the houses, which express a larger scale stoneprint on Gobekli hill (Furter 2016, and 2016b; Expression 15).

Structuralist analysis of the temple of Apollo at Delphi, demonstrates that practical and conscious motivations are independent of subconscious archetypal structure. For example, Greek buildings were oriented by surveying one diagonal (crosswise, corner to corner) on a cardinal direction (east or north). Ranieri (2014) listed diagonal orientations of 200 Greek temples, including sixteen buildings of the Delphic Apollo sanctuary. The only overlap between regular geometry or celestial orientation, and the subconscious stoneprint, is in one element of the time-frame orientation. At Delphi campus, the galactic polar axle co-incides with the long axis of the site.

A site for kings, priests and junctures

Dominant general themes in the Dephi campus include these types:

4 King, of sun, twins, rectangles, walls, fish (here a dolphin);

4p Gal.S.Pole, of junctures (stones, pillars, secular v sacred, natural v super-natural, noble v commoner, sacrifice v gain), water (basins, cisterns);

5 Priest, of ritual (oracle, sacrifice, convocation, diplomacy), vari-coloured, hyperactive, judgement (oracle interpretation, and dispute resolutions), or reptile (pythons).

These general themes are confirmed by the up-slope central positions of types 4, 5a, 5b and the 5c sector.

Delphic Apollo precinct about BC 400 (plan after Coste-Messelière 1936. Type labels and axial grid by E Furter).

Type number, Label, building features at Delphic Apollo (noting archetypal features):

1 Builder; Krateros column (tower).

1 Builder B; Apollo temple west chamber.

2 Builder; Stadium stairs. Statue of Auriga, Charioteer.

3 Queen; Apollo temple centre, slain dragon (dragon, long neck, sacrifice). Stage apron Hercules frieze of tamed monsters (dragon, sacrifice).

3 Queen B; Archaic building.

2c Basket; Apollo’s interior omphalos stone (monster head) in a net (weave), sunken (2 pool). Statues of Krateros saving Alexander (2 twisted) in lion hunt (3 bent neck).

4 King; Dionysus two identical buildings (twins), brother (twins) of Apollo (king), twin (twins) of Artemis. Apollo Dolphin (fish) inner door, in building of two east-west diagonals (twins).

5a Priest; Apollo’s hut of bay branches, wax, feathers, bronze (varicoloured), two eagles (elemental, cardinal). Apollo as Zeus (priest), eagles crossed (4p juncture) to drop omphalos. Knydian hall (assembly), mural of wooden horse (equid).

5b Priest; Apollo Sitalcas, Grain Guard (of 10), highest at 70ft (large); Daochus, draped (sash), leg flexed (4), a Delphic priest (priest). Entrance pillar of Prusias2 of Bithynia, equestrian (equid). Euremedon palm (6 tree) by Agamemnon’s charioteer (equid). Many features (varied).

5c Basket-Tail; Neoptolemus sanctuary; Syracusian treasury; tripods (oracle) of Gelon and Hiero; Aemilius Paulus pillar for PrusiasII of Bithynia, equestrian (equid); Acanthus plant column (6 tree), three graces under a tripod (oracle. 6 chair) holding a cauldron (container); Sockle stone.

6 Exile; Attalos portico, protruding (egress); Chios altar (sacrifice); Akanthian treasury.

7 Child; Rhodian chariot (chariot); Plataian tri-serpent spiral column (unfolding. 8 snake); under a golden tripod (6 chair).

7g Galactic Centre; Athenian porch. Central gate (gate) to Kastalian spring (water).

8 Healer; Prytanaion, fire altar (flame).

9 Healer; Cyrenean; Corinthian; Athenian stoa (pillars).

9c Basket-Lid; Corcyrian Bull revealed (oracle) a tuna school (ophiotaurus, snake-bull, transition).

10 Teacher; Market gate (market). Statues of Aegospotiamoi; Arcadians; and Philopomen. Spartan Admirals (guard) monument, Lysander crowned (crown).

A reconstruction of Delphic Apollo’s main features (after Ulearnabrodingreece).

10 Teacher B; Statues of Spartans, Athenes, Argives, wolf logo (canid); Threshing floor, Halos (11 crops), where Apollo kills a fountain dragon (3 opposite).

11 Womb; Argive King’s crescent (interior). Seven Epigonoi crescent (interior). Both of Argos, ‘Wheat Field’ (crops).

12 Heart; Sikyonian treasury interior (interior), reliefs of war (war), spears (weapons). Cnydian treasury, Triopas, Artemis shooting (weapon) at Tityus.

13 Heart; Siphnian treasury interior (interior), frieze with lions (felid), gods in battle (war) v giants. Cnidian interior (interior).

13c Basket-Head; Sibylline rock (oracle).

14 Mixer; Theban, protruding (egress). Boeotian. Athenian, central (ingress).

15 Maker; Bouleuterion, ‘bread, chew, talk’ (order), of local council (sceptre).

15g Gate; Sanctuary of Ge (15 creation). Asklepius. Two main SW gates, Gymnasium gate (gates).

Axial centre; Probably unmarked, as usual.

4p Gal. S. Pole; Dionysus stairs (juncture). Kassotis spring (spout). Site’s long axis (juncture). Alyattes’ silver wine bowl on spiralling iron bands (junctures). Apollo (4 king) pronaos cauldrons.

11p Galactic Pole; Threshing floor (11 crops) south corner (juncture), site’s long axis (juncture). Tarantines’ captive women (11 wombs). The galactic polar axle is on the site’s long axis (juncture).

Midsummer (cp); Had moved from the Sibyl rock north edge, near the north-south cardinal, to the tall Naxian winged sphinx column (junctures).

Midwinter (csp); Had moved from the Apollo temple left corner, to the platform left corner (junctures).

These markers placed the site’s subconscious ‘summer’ in 14 and 15, thus ‘spring’ and the cultural time-frame as Age Aries and Age Pisces (from about BC 1500, and from about BC 80). both ahead of the Age of the builders. ‘Predictive’ time-frames are typical of national legacy sites (see Nemrut, Turkey, in Furter 2016: p238-241).

Delphi area map, including the Apollo temple precinct at 1 and 2, Athena Pronaia temples of Marmaria at 8 and 9 on the same axes, and other buildings and landscape features (after Planetware. Archetype labels and axial grid test by E Furter). This identification is tentative and requires further study.

Oracle sites seem to emphasise the four transitional types (2c, 5c, 9c, 13c), and contain extra features expressing the theme of container (here including treasuries), secret (diplomacy), revelation (oracle), code (oracle interpretations and riddles), basket (nework of vines or co-ordinates on the omphalos or navel stone), woven texture, instrument (sacrificial and ritual items), snake (pythons), or throne (tripod of pythoness priestesses). Tarot trumps 2, Priestess in a shrine, and 17, Star, express some of the same features, since 17 is the second magnitude of 2 in base15/16, due to a natural quirk that requires two numbers 5 (5a and 5b) in the lowest magnitude of natural numbers, as confirmed by the stoneprint in the periodic table (Furter 2016).

Archetype finds universal expression in all media

In any artwork or building site, containing eleven or more characters or focal features in relative proximity, at least twelve eyes or focal points are on an axial grid with one focal point; AND the archetypal characters express about 60% of the known optional typological attributes; AND some attributes have fixed frequencies in random samples of more than 50 works; AND the characters are in the standard peripheral sequence, clockwise or anti-clockwise;  AND axially opposite their usual counterparts; AND some limb joints or corners (not eyes or foci) are on one of the two implied ‘galactic’ poles, or on one of the two implied ‘celestial’ poles; AND the ‘celestial’ polar axle is on the implied solsticial direction of the precessional Age of the local culture, which is usually prior to the work; AND one of the polar axles may be parallel to the ground-line or vertical of the artwork, or a cardinal direction of the building site.

Some features of the structure are quirky, but universal, similar to other natural rule-bound structures, such as the periodic table, nuclear physics, and bio-chemistry. The high level of regularity indicates that culture is not a cumulative construct, but an archetypal quantum, measurable in the cultural record. Some media, such as myth cycles, ritual, calendars or games, express the same structure, but without spatial context. Some media, such as myth, lack sequence, and their typology is therefore less rigorous.

Artworks and building sites are directly testable for all five known layers of structure, and could thus inform further study of myth and other abstract sets, with the caution that media do not illustrate one another, but express the same natural pattern, with some recognised parallels that are usually mistaken as diffusion. Every set is imperfectly expressed. The core content of culture is sustained across diffusion and disruptions, by our compulsion to perceive and re-express the invisible blueprint of meaning.

The numerological quirk in archetype, revealed how the 22 Tarot trumps and other iconic sets correspond to the calendar and constellations myths. The Tarot deck variant with trump 8 as Strength (type 8 Scorpius) and trump 11 as Justice (type 11 Virgo) is archetypal. Some decks interchange these two numbers due to a historic copy error (Furter 2014), which esoteric literature explains only in vague conceptual terms, confirming that emblematic attributes and sequences were not consciously understood by users, designers and printers. The original trumps designer may have been prompted by a calendric poem cycle of Petrarch (as Moakley demonstrated), or by a collection of emblems that woodcut printers (such as my ancestor, Michael Furter of Basle) habitually mixed and matched in book illustrations.

Classical esoterica at Delphi

Esoteric craft elements may seem out of place in archaeology and anthropology, however numerology, geometry, liver divination, and similar craft sets are part of cultural media, and thus of the humanities, as Delphi itself demonstrates (Robert Temple 2003. Also see the Piacenza bronze liver divination model in Furter 2016).

Archetype does not derive from cosmology, but enables cosmology and all aspects of nature and culture. The stoneprint model derives from artworks and building sites. Complexity of the model, and lack of consistent astronomical and iconographic knowledge among artists, architects, builders and renovators, and absence of any similar model in artistic training or symbolic ‘programmes’, all indicate that the structure is subconscious, and thus archetypal, and of equal status in all media.

  • See the structuralist anthropology stoneprint model, theory, data, demonstration, conclusion and references, in the paper ‘Blueprint, the subconscious structure in three cultural media’, in a post on