Archetypal structure in religious art Archetype in New Age and ayahuasca art

Denver Airport art mirrors world orders in mind orders

Artist Leo Tangula’s paintings of apocalyptic bio-warfare, destruction, and struggle between Facist and peaceful world orders, include some mystic symbolism in Mexican panoramic political mural style and dynamic curves. His intention is similar to Pablo Picasso’s Guernica, which dramatises the horror of the Spanish Civil War to promote peace. The main general theme in Tanguma’s Order of Chaos artwork is revealed by extra features of type 12 /13 Heart, typical of heart (here of the mother and dead child), death (a procession of mothers with dead children, and slashed dove), rounded (sabre, shawls, wall, rainbow), weapon (sabre, rifle), or war. Four characters on two axes express this type here, two of these by their eyes and chest. Another general theme in this work is type 1 /2 Builder, typical of twisted postures (here of six characters), cluster (procession, and camp), bird (dove), tower (two), ruin (two), or book (here at 7).

Yet another general theme here is type 15 Maker, typical of churn (souls entering and leaving life), order (part of the title, ironically chaos), bag (shawls, respirator), weapon, or smite. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.

Leo Tanguma; Order of chaos, at Denver International Airport, Jeppesen Terminal Level Five (image after Travelgumbo. Archetypal labels and axial grid by E Furter). The display juxtaposes his panels on war, and children making world peace.

Type Label; Character (noting archetypal features):

2 Builder; Window A ruin (twist, tower, build, ruin).

3 Queen; Window A ruin (sacrifice).

4 King; Window B (rectangle) ruin.

5a Priest; Window C and floor (horizontal).

5b Priest; Window D ruin.

5c Basket Tail; Poem manuscript (weave, reveal) by Hama Herchenberg, 14, who died in Auschwitz Nazi concentration camp in December 1943: “I once was a little child who longed for other worlds, but I am no more a child for I have known fear, I have learned to hate, how tragic then is youth which lives with enemies, with gallows ropes. Yet I still believe I only sleep today, that I will wake up a child again, and start to laugh and play.”

6 Exile; Dove or Peace stabled (sacrifice).

7 Child; Book (‘bag’, unfold, eyeless).

7g Gal.Centre; Box? (juncture).

9 Healer; Teddy bear (‘strong’ in irony) as comfort (heal).

10 Teacher; Child holding (arms up) toy bear (‘hunt-master’ in irony).

11 Womb; Mother’s midriff (womb).

12 Heart A; Dead (death) child.

12 Heart B; Dead (death) child’s chest (heart).

12 Heart C; Mother’s chest (heart).

12 Heart D; Blonde woman.

13 Heart A; Mother.

13 Heart B; Woman in white shawl.

13c Basket Head; Woman with shawl (hat) in procession of mothers.

14 Mixer; Procession of mothers.

15 Maker; Fascist soldier with bandolier (rope), strident (rampant), imposing rule (order), with gas mask (face, bag), gun (‘mace’, weapon), slashing (smiting) a peace dove.

15g Gal.Gate; machine gun (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Wall between two ruins (juncture).

11p Gal.Pole; Blonde woman’s jaw (limb-joint).

Midsummer; Soldier’s thumb (limb-joint).

Midwinter; Child’s foot (limb-joint).

The polar triangles are on the horizontal and vertical planes. The solstice markers place midsummer between Cancer and Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, confirmed by ,,,,,, prominence. Transitional time-frames are typical of themes of change.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

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Archetypal structure in religious art

Gruber’s Bad Teinach art integrates astrology, alchemy, kabbalah, culture and cult

The Bad Teinach mineral hot springs resort church Baroque altarpiece, is one of the largest, most complex and most integrated visual manifestos of counter-reformation mystical Roman Catholic Christianity. The work is densely packed with Biblical, alchemical, astrological and kabbalistic imagery, integrated into the usual layer of political and social aspirations. This collaborative design was commissioned by Princess Antonia’s circle of religious and academic advisors, painted by Johann Friedrich Gruber, court painter at Stuttgart in 1659 -1663, and installed 1673. Its designs now present an opportunity to test the structuralist art analysis axial grid model, based on the anthropology of Claude Levi-Strauss; and the psychology of Carl Jung; and the philosophical concept of archetype, as a pre-existent potential that guides natural and cultural expressions by subconscious inspiration. Triptychs have three views, perhaps analogous to the three planes of time and space and time (see polar triangles in the axial grids below).

Demonstration of a universal, subconscious standard structure in all complex art, and in some other cultural media (particularly myth and ritual) of all cultures and eras, from extant Ice Age art to contemporary art, challenges the conscious paradigm of all the human sciences. The triptych in Bad Teinach, in the Black Forest, was designed as a visual manifesto of counter-reformation mystical Roman Catholic Christianity. The design is a Kabbalistic teaching board, six metres tall, dominating the small church interior. Gruber was court painter at Stuttgart. Antonia’s brother, Duke Eberhard, had established the church as a private family chapel, partly to house the artwork. The family took summer holidays in the bath town.

Royal patronage of esoteric philosophy, or scientific mysticism, was first recorded under kings Ur Nanshe and Gudea in Sumeria (Furter 2016); and was also prominent in the politics of medieval Italy and Renaissance Europe. Conscious and subconscious agendas in all cultural media perpetually divide economies, religions, and culture into stylistic differences. In addition, mainstream culture always fractures into craftic counter-cults. Gnosticism and Sufism remain distinct cults in Christianity and Islam. Speculative Masonry and other cults perpetually attempt vertical integration, but religion and crafts remain as repellent as science and esoterica.

While alchemy was developing into science, its labels, tables and formulae became conscious technology and academia, while its correspondence theories retained popular currency, notoriety, and at times suppression. The esoteric or Gnostic motto that Phil Norfleet cites about the Bad Teinach artwork, acquires new meaning in the context of subconscious expression: “It is the glory of God to conceal a thing, but the honour of kings to search out such a matter,” after Proverbs 25;2.

Gruber’s Bad Teinach triptych covers and case (after Esoterik Astrologiedhs de). See the subconscious archetype imprint in its Bridal procession; and three interlocking imprints in in its interior central panel; and the imprint in its interior wings, in the structuralist analyses below.

Princess Antonia of Wurttenberg, her sisters, and the women of Bad Teinach, were mainly widows after the Thirty years’ War. They embraced charitable and esoteric causes. Under its integrated layers of Judaeo-Christian, alchemical, astronomical and kabbalistic symbolism, the Bad Teinach altarpiece subconsciously expresses four sets of the universal standard ‘grammar’ or ‘DNA’ of art; three of these are stacked vertically in the central panel. Each cycle includes the sixteen archetypes; in their standard semi-circular sequence; with the eyes of typological characters on an axial grid connecting the pairs of opposites; and with the usual tri-polar structure of two mirrored triangles on five points, marked by certain limb joints. This subconscious structure, rigorous as usual, confirms that the core content of any complex artwork is standard; and that five layers of structure, and about 60% of 100 known optional recurrent features, are predictable in cultural works from any place and time. The same applies to rock art, modern art, and future artworks.

The structure of expression, and mechanisms of culture, is not an idle game. These features also appear in natural media, and thus in archetype. They reveal the structure of meaning itself, and offer a unique opportunity to raise subconscious behaviour to conscious study. On consciousness, Jung noted: “Without the existence of conscious concepts, perception is impossible. This explains numerous neurotic disturbances which arise when certain contents are constellated in the unconscious [named subconscious in the present study]; but cannot be assimilated, owing to the lack of perceptive concepts that would grasp them. It is extremely important to tell children fairy-tales and legends, and to inculcate religious ideas and dogmas into adults, because these things are instrumental symbols with whose help unconscious contents can be canalized into consciousness, interpreted, and integrated. Failing this, their energy flows off into unconscious contents which, normally, are not much emphasized, and intensifies them to pathological proportions. We then get apparently groundless phobias and obsessions; crazes, idiosyncrasies, hypochondriac ideas, and intellectual perversions, camouflaged in social, religious, or political garb”.

Alchemists always have an intuitive grasp of the need to study the inherent structure of nature and culture, as they did before psychology was a science or even a word. Freud and Jung brought the eternal craft of spiritual therapy into science, where it lives uncomfortably close to secular chemical medicine. The Bad Teinach altarpiece, alchemy, astrology and kabbalah all seem distant from the conscious crafts of philosophy, self-improvement and scientific culture today. However the periodic table, at the root of chemistry, physics and medicine; and the standard model of physics (Furter 2016), are fruits of structuralism.

The structure of expression and perception, though camouflaged among our conscious obsessions, is more consistent than conventional symbolic features, such as vague correspondences between gods, stock characters, ritual gestures, devices, planets, constellations and colours. Subconscious expression never co-incides with conscious designs (as their different ‘perspective’ centres confirm). Expression usually partially confirms, and partially contradicts the conscious symbolism in artistic ‘programmes’ such as religious texts, alchemical stages, planets, and kabbalistic sephirot tableau.

In the alchemical work titled ‘Cabala as mirror of art and nature’ (Furter 2014) is an astrological cycle and a planetary cycle; both entirely contradicted by the artist’s subconscious expression. In Poussin’s Helios and Phaeton, his subconscious expression entirely contradicts an astrological band, which is mere decoration (Furter 2014). Most alchemists are artists rather than chemists; and most artists are not philosophers or esotericists. Culture operates on two distinct levels of consciousness, confirming some of the findings of Carl Jung regarding archetype (after Plato and others) in our psychic motivations. Structuralist analysis of artworks and built sites (Furter 2016) confirm some of the findings of Claude Levi-Strauss regarding our innate tendency to isolate elements of experience into natural categories. But the structure of perception and expression is now revealed to be much more detailed than Plato, Jung, or Levi-Strauss found. The combination of simplistic features (bent forward, or arms up, or juvenile, and so on); and complexity of combination of features (optionality, sequence, eye position, axial grid, relative orientation of polar elements), indicate that our subconscious mind ‘sees and speaks’ in natural categories of archetypal meaning; and is much better at spatial composition than our conscious minds could be.

The eye-hand-mind co-ordination of artists, including recognised masters, gifted amateurs, and unknown rock art masters, is an instrument for archetypal expression. Isolation of layers of rigorous recurrent features in cultural media, raise the need for a more comprehensive form of art analysis, terminology, and definitions of what art and culture is.

Princess Antonia and her advisors had made a fine art of esoteric crafts, at a more intuitive level than science. Art history, anthropology, psychology, sociology and the other humanities now has a model to isolate categorical archetypal core content, from ambiguous symbols, and from superfluous styling. A provisional scoring system to test the quality of structural art analysis, confirm that about 60% of the claims made about the hidden structure of artworks, are usually correct. Analysis scores range between 40% and 80%, or 40% variance, on a sigma curve. Scoring indicates only the quality of analysis, not the quality of artworks. Some works are remarkable for containing two, or three (as in the Bad Teinach central panel), or even four adjacent and interlocking mindprints.

Archetype in the Bad Teinach Philosopher’s garden foreground

The Bad Teinach altarpiece central panel bottom register, or foreground, pictures a Philosopher’s garden, with twelve sons of Jacob as patriarchs of twelve tribes; below some prophets at the allegorical college building. The caption below reports the underlying archetype, in the standard structuralist axial grid model and labelling format, here adding subconscious astrological analogues to the generic type names.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; Garden character (noting archetypal features):

1 Builder or Taurus; Prophet Isaiah, as Rosicrucian leader Andreae (hero), in the mountain (cave) gate, with cup (rain), crown, scroll (book), spear (former spring marker).

2 Builder or Taurus; Prophet Ezekiel (hero) in the mountain (cave) gate, with survey plan (book), trumpet (thunder) and skeleton (more typical of 13).

2c Basket or Algol; Sephiroth’s Glory (instrument, secret, school).

3 Queen or Aries; Sephirothic (school) Glory as a woman (queen), golden statue.

4 KingA or Pisces; Statue of Joseph (furnace) dreamer, at the right corner (rectangle).

4 KingB or Pisces; Christ (king, sun, ‘twin’ of John) on throne (squat, rectangle).

4 KingC or Pisces; John Baptist (‘twin’ of Christ. More typical of 5).

5a Priest or Aquarius; Healing snake (reptile) of Moses (priest) on a cross. And Moon (water) priestess (priest, assembly) half-cloaked (sash. See Tarot trump 21, World; 21 is a magnitude of 5 in base-8 with two fives).

5b PriestA or Aquarius; Sephirothic Eternity (assembly?), in green and brown (varicoloured), axis to his chest (heart, of 13 opposite).

5b PriestB or Aquarius; Statue of Joshua (judge), at the left corner, axis to chest (heart, of 13 opposite).

5c Basket Tail or Piscis Austrinus; A prophet, in prayer, with scroll (weave, reveal. See also the Heaven register), on a phoenix or dragon (tail).

6 Exile or Capricornus; A prophet, in the field gate, with scroll and oracle pot (sacrifice, U-shape).

7 ChildA or Sagittarius; Evangelist with eagle.

7 ChildB or Sagittarius; Evangelist with angel’s (juvenile) head (beheaded, manifesting).

7g Galactic Centre; Agave flower on stem, hemp plant for making rope (rope).

8 Healer or Scorpius; Tribe Naphatli’s antler hind deer (trance. See Tarot trump 9, Hermit with antler, or wearing antlers), with cornucopia (heal) on a tree stump (pillar).

9 Healer or Scorpius; Tribe Dan, with scales (of 10), with sword (strong), serpent (snake, heal) at his feet.

9c Basket Lid or Serpens; Dan’s serpent (snake, reveal).

10 Teacher or Libra; Tribe Asher, prosperous (trade), shoes of iron and brass (metal, trade), linked to Phoenicia; one arm up (arm-up), a baker holding wheat (more typical of 11), near the gate (guard).

11 Womb or Virgo; Asher’s midriff (‘womb’), with bread? (wheat?)

11 Womb or VirgoB; Ewe’s midriff (womb).

11 Womb or VirgoC; Princess Antonia’s midriff (womb), as virtue (virginity) in the gate (interior).

12 Heart or Leo; Tribe Zebulon, ‘Of single heart (heart), no double heart (IChron12:33), ‘Fully armed’ (weapons); ‘Fought (war) at Merom to death (death)(Judges5:18); his axis to his chest (heart), with anchor (weapon, more often scythe).

13 HeartA or Leo; Tribe Judah, axis to his chest (heart), with lion (felid), sword (weapon).

13 HeartB or Leo; Tribe Issachar (of 14), axis to his chest (heart), with ass (of 14) and globe (summer?).

13c Basket Head or Leo Minor; Tribe Ruben, with shield (lid), near the centre (ingress, of 14).

14 Mixer or Cancer; Tribe Simeon, with two staffs (more typical of 9/10), wolf (canid, also of 9/10), near the centre (ingress).

15 MakerA or Gemini; Evangelist with a bull (more typical of 1 adjacent).

15 MakerB or Gemini; Evangelist with a lion (rampant. More typical of 13). Two types 15 (doubled), hold bull and lion (churn, order).

15g Gate; City gate (path, juncture).


Axial centre; Moon water font edge (juncture).

4p Galactic South Pole; Christ’s foot (limb-joint).

11p Galactic Pole; Central Christ’s elbow (limb-joint) at his cross. And Princess Antonia’s dismembered heart in her hand (limb-joint).

Summer or Celestial Pole (cp); Luna’s knee (limb-joint), horizontal to the axial centre. Theses markers place summer on axis 15 or Gemini, thus spring and the cultural time-frame in Age Pisces. The top central position of type 4 or Pisces, as Christ, and as John, confirm the time-frame.

A general theme in the garden register is type 4 King; typical of rectangle (here flower-beds); garden (see Tarot trump 19, Sun over a walled garden. A higher magnitude of 4 in base-8 with two types 5, is 19); furnace (college as alchemical furnace); and twins (axes 4v11, 5a v13, 6v14, and 7v15 are all doubled here). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score in the garden register is 57/68 archetypal features; 26/16 axial points (excessive scores are accounted, usually neutralised by off-grid characters); 10/4 c-type sector features; 2/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age or Age prior to the work; 2/2 general themes; thus 103/100, minus 11 extra characters off the axial grid; total 92%, one of the highest scores found among about 750 analyses.

Archetype in the Bad Teinach Philosopher’s college building

The Bad Teinach altarpiece central panel middle register pictures a philosopher’s college. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; College character (noting archetypal features):

01 Builder or Taurus; OFF THE GRID Golden ibis at an obelisk.

02 Builder or Taurus; Evangelist with lion (monster) and book (book).

02c Basket; A prophet in the city gate, with cup (container) and scroll (book, texture).

03 Queen Aries; A prophet with jug (sacrifice), a plan (book, of adjacent 2), and a scroll (school), head inclined (neck bent).

04 KingA or Pisces; Statue of Joseph? (sun?), at the hall right corner (rectangle), paired with Joshua (‘twin’).

04 KingB or Pisces; Right crucifix (‘king’), paired with another (twin).

05a Priest or Aquarius; Aaron (priest) at an altar (assembly) recalling golden calf (bovid, hyperactive).

05b PriestA or Aquarius; Left crucifix, axis to its chest (heart, of 13 opposite), of snake (reptile).

05b PriestB or Aquarius; Statue of Joshua? (war, or 13 opposite), as cup-bearer (decan Aquarius, rare; water); at the hall left corner.

05c Basket Tail; Wall engraving (texture) of Queen Sheba (exile, of 6) of incense and myrrh (tree).

06 Exile or Capricornus; A prophet in the field gate, scroll, divination pot (sacrifice, U-shape), sextant (triangle).

07 Child or Sagittarius; Tabernacle of cloth (bag, rope, unfold), formerly Ark of Covenant (chariot?), later empty (eyeless).

07g Galactic Centre; Mt Sinai base (path, juncture).

08 Healer or Scorpius; OFF THE GRID Peacock bent forward, at obelisk. And engraving of Daniel in furnace.

09 Healer or Scorpius; St Michael in battle (strong) over Mt Sinai (pillar?).

09c Basket Lid; Angel with trumpet (instrument, metal, reveal, enforce, armlink). And Phoenix  in nest (weave, disc) on obelisk (pillar).

10 Teacher or Libra; Justice (of 10 or 11), shield, sword (metal), arms up (arms up), at dome (disc) among procession (carousel).

11 WombB or Virgo; Love or Sephirothic Beauty’s midriff (womb).

11 WombA or Virgo; Mercy’s midriff (womb), at engraving of annunciation of her pregnancy (womb).

12 Heart or Leo; Blue angel (angel) with harp, axis to his chest (heart).

13 HeartA or Leo; Crane, axis to its chest (heart), with ? (weapon?), on spire of element water (water-work).

13 HeartB or Leo; Angel (angel) with trumpet (of 5 opposite), of heaven (death).

13c Basket Head; Halo (hat, lid, head) of secret book (time, oracle).

14 Mixer or Cancer; Microcosm of God’s secret book (time), near the centre (ingress).

15 Maker or Gemini; Angel (winged) with Gospel (order, book of 1) and wand (sceptre). And (doubled) angel (winged) with millstone (churn).

15g Gate; Zion city gate (path, juncture), under God’s microcosm (juncture).


Axial centre; Patriarch Jacob’s throne.

4p Galactic South Pole; Crucifix hand (limb joint)

11p Galactic Pole; Beauty’s foot (limb joint)

Summer; Pillar Jacin. Midwinter; Carved phoenix tail (limb joint). The horizontal plane confirms the summer marker between axes 15-1 or Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius. However the vertical plane of the axial centre is in Pisces-Virgo, with Christ and St John as types 4 or Pisces, confirming and Age Pisces spring.

A general theme in the central or college building’s register, is type 11 Womb; typical of gestation, domes or furnaces. Six women are on the lintel and facade, and two of these express type 11 Virgo, with prominent wombs on the axial grid; and one also expressing 11 in the upper register mindprint. All five layers of structuralist expression are subconscious to artists and members of any culture.

The analysis score in the mid register is 47/68 archetypal features; 18/16 axial points; 18/4 c-type sector features; 5/2 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 95/100, minus 8 extra characters off the axial grid; total 87%, above the top of the average range.

Archetype in the Bad Teinach Heaven register

The Bad Teinach altarpiece central panel top register pictures Heaven. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; Heaven character (noting archetypal features):

01 Builder or Taurus; Wind angel, flying (twist, bird).

02 Builder or Taurus; Praise angel playing violin (twist).

03 Queen or Aries; Cherub in green.

04 King or Pisces; Yod letter on sephirot Crown (king. See Tarot trump 4, Emperor).

05a Priest or Aquarius; Cherub (winged) in red (colours, sash).

05b Priest or Aquarius; High order angel (winged), multi-winged (hyperactive, large).

05c Basket Tail; Cherub flying (horizontal, of 5), off the grid, as most c-types are.

06 Exile or Capricornus; Angel with long scroll (of 5c), far from the centre (egress).

07 Child or Sagittarius; Cherub (juvenile).

07g Galactic Centre; Golden angel sitting. And sun on dome top.

08 Healer or Scorpius; Cherub with palm branch, diving (bent forward).

09 Healer or Scorpius; Daniel’s giant (strong, large) of steel (metal) with sword, at obelisk (pillar) of fire (smelt).

09c Basket Lid; Holy Spirit (reveal). And dome (lid, metal) with engravings (texture). And Ezekiel’s four throne angels (instrument). And Justice (of 10/11) with shield, sword (metal), arms up (of 10), among procession (carousel).

10 Teacher or Libra; God?, arms up (arms), central (balance), in a trio (polar function), central on the dome (disc, guard, carousel), under the crown of God (metal), flanked by crowns of Holy Spirit and Son (council).

11 Womb or Virgo; Mercy’s midriff (womb).

12 Heart or Leo; Cherub (angel) with palm branch (scythe shape), diving (invert).

13 Heart or Leo; Praise angel (angel) with harp, axis to his chest (heart).

13c Basket Head; Crane (oracle) with ? (weapon? Of 13) in nest (weave), on spire of element water (water-work).

14 Mixer or Cancer; Mt Zion base, eternal (time), tree-shaped (tree. See alchemical arbores), far from the centre (egress).

15 Maker or Gemini; Red angel (winged) with lute.

15g Gate; Green angel. And red angel (doubled, of 15), smiting (smite).


Axial; Unmarked, near Enoch.

4p Galactic South Pole; God’s monogram, A/V (juncture).

11p Galactic Pole; Angel’s foot (limb-joint), on the dome (juncture).

Summer; Unmarked, near the burning bush of Moses, horizontal from the centre. This marker places summer on axis 15 or Gemini, thus spring and the cultural time-frame in Age Pisces, confirming the other two registers. The top central crown as type 4 King or Pisces, confirms the time-frame.

A general theme in the heaven register is type 10 Teacher (here God the Father), typical of balance, elements, cycles, wheels (here the central rosette under type 10). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score in the heaven sector is 34/68 archetypal features; 16/16 axial points; 12/4 c-type sector features; 2/2 g-gate sector features; 2/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 3/2 general themes; thus 71/100, minus11 extra characters off the axial grid; total 60%, on the universal average, despite some conscious and subconscious compromises with competing programmatic elements; perhaps compensated for by baroque opulence.

Archetype in the Bad Teinach triptych Egypt and Moses wings

The Bad Teinach altarpiece triptych wings interiors picture the holy family’s Flight to Egypt with baby Christ; and an Egyptian princess finding baby Moses in the Nile. Some scholars (Rohl 2007) see Abraham as an Egyptian pharaoh; and Christ’s foster father Joseph’s name as more than coincidence, since prophet Joseph was vizier or acting prince of Egypt; and had invited his estranged family to visit, perhaps to stay in the Nile Delta. Some see Moses and the Exodus as Egyptian royal and Akhenaton priestly exiles; Jewish Testament books as hiding their Egyptian legacy from Babylonian masters; Christ as Egyptian royal descendant in exile; the New Testament as hiding this Egyptian legacy from Rome; and the Flight to Egypt as a futile attempt to seek asylum with estranged family. Renaissance scholars and astrologers were familiar with Egyptian esoterica, thus the triptych wings may have consciously intended to integrate Biblical history into this religious, cultural and artistic manifesto.

The two wing panels are fixed further apart than shown here, but they form a standard archetypal cycle and axial grid when spaced moderately, indicating that they were designed on one surface. General themes in this design include type 6 Exile, typical of egress (here of a design split into flanking panels); sacrifice (baby in basket, and baby escaping Heroid’s genocide but destined for crucifixion), small (babies), tree (in both panels); and its axial opposite, type 14 Mixer, of egress, time (here similar episodes in the era of Abraham, Moses and Christ), transform (virgin to mother). Another general theme here is the four transitional or ‘Basket’ fields, 2c v9c and 5c v13c; typical of woven texture (here the basket, reeds, trees, lamp glass); container (basket, lamp); secret (identity of the child, or of the parents, hidden in oracles). The list below notes features of the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Gruber; Bad Teinach altar triptych wings interiors picture Christ’s family’s Flight to Egypt; and an Egyptian princess finding baby Moses in the Nile (archetype labels and axial grid by E Furter).

Type Number and Label; Egypt character (noting archetypal features):

1 Builder; OFF THE GRID Egyptian princess prefiguring Mary with courtiers (see Egyptian legacy notes above).

2 Builder; Egyptian slave (builder) gesturing (twist) from a tight group (cluster).

2c Basket; Princess’ cloak (weave, arm-link).

3 Queen; Egyptian queen (queen) at the Nile (pool).

4 King; PrincessB (twin?) kneeling (squat) with golden cloak, her right eye.

5a Priest; PrincessB with red hair (colour), golden cloak (sash), her left eye (tailcoat-head).

5c Basket Tail; Key (secret, container, reveal) of princess. And princess C with hat or braids (weave, disc) finding Moses (reveal).

6 Exile; Baby (small) Moses, far from the centre (egress) in a basket (U-shape, sacrifice), later pictured with ram’s (caprid) horns (horned).

7 Child; Donkey steed (chariot) with passenger (bag), child (juvenile), reins (rope); both eyes on the axial grid.

9 Healer; Joseph’s lamp (lamp, trance. See Tarot trump 9, Hermit with a lamp. Recurrent features arise from archetypal inspiration, rarely from learning or conspiracy).

9c Basket Lid; Lamp cover (disc, lid, instrument, reveal, metal) held by Joseph (arm-link).

10 Teacher; Joseph holding (arms up) lamp and staff (staff), with hat (disc), escort (guard) of Mary and Christ.

11 Womb; Mary’s midriff (womb).

12 Heart; Baby Christ’s chest (heart), descendant of David of Judah, lion (felid), destined to die young (death).

13c Basket Head; Christ as prophesied (oracle), with halo (hat, weave); off the grid as c-types usually are.

14 Mixer; Mary, virgin yet mother (transform).

15 Maker; Egyptian courtiers A and B (doubled), empire (order) and slave masters (mace, smite).

15g Gal.Gate; Egyptian courtier C.


Axial centre; On the left inner frame or cut-line (juncture).

4p Gal.S.Pole; Egyptian princess’ hip (limb-joint).

11p Gal.Pole; Mary’s elbow (limb-joint), not labelled here to avoid clutter.

Summer and winter; Probably on the left inner frame or cut-line (juncture), thus on the vertical plane, placing summer between axes 14-15 or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. Age Aries may be confirmed by the Egyptian queen on the right, who is uniquely shown in small perspective.

The analysis score in the two Bad Teinach wings is 34/68 archetypal features; 12/16 axial points; 14/4 c-type sector features; 0/2 g-gate sector features; 2/5 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 66/100, minus 2 extra characters off the axial grid; total 64%, near the global average. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Archetype in the Bad Teinach Bridal procession

The Bad Teinach altarpiece triptych cover top two registers, picture a Bridal procession. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Gruber; Bad Teinach altar triptych cover top two registers of angels and Bridal procession (archetype labels and axial grid by E Furter).

Type Number, Label, Decan; Procession character (noting archetypal features):

1 Builder or Taurus; Golden angel musician in group (cluster) on scroll (book).

2 Builder or Taurus; Brown angel trumpeter (twist, cluster).

2c Basket or Algol; Two trumpets (instrument, arm-link).

3 Queen or Aries; Blue angel trumpeter.

4 King or Pisces; Purple angel beating two (twin) drums.

5a Priest or Aquarius; Tan angel (winged) trumpeter (trumpet. See Tarot trump 20, Judgement with trumpet; 20 is a magnitude of 5 in base-8) in group (assembly).

5b PriestA or Aquarius; Dark blue angel (winged) reclining (horizontal).

5b PriestB or Aquarius; Purple-orange (varicoloured) angel (winged), axis to his chest (heart, of 13 opposite), in group (assembly) at scroll (sash).

5c Basket Tail or Piscis Austrinus; Scroll (texture) part three (reveal). And woven (weave) vase (container). And door into heaven.

6 ExileA or Capricornus; Woman in red and blue, neck bent (more usual at 3), further from the centre (egress).

6 Exile or Child extra; OFF THE GRID Woman with apple and skull.

7 Child or Sagittarius; Women kneeling with two children (juvenile).

7g Gal.Centre;Child’s foot (limb-joint) on route (path) in cloud (water).

8 Healer or Scorpius; ChildB, squatting (bent forward).

9 Healer or Scorpius; Bridesmaid, sister Sybilla, named after an oracle (trance) in blue, inclining (bent forward), holding thorns or scourge (strength, ‘heal’).

9c Basket Lid or Lupus; Scourge (weave, instrument, enforce) and anchor (instrument, metal) held by women (arm-link).

10 Teacher or Libra; Bridesmaid (guard, council), sister Anna Johanna, holding up (arm up) an anchor (metal, market, ‘staff’).

11 Womb or Virgo; Princess Antonia’s midriff (womb), crowned (law) bride of Christ.

12 Heart or Leo; Princess Antonia’s chest (heart).

13 HeartA or Leo; Princess Antonia, bride of Christ of Judah or lion (felid),

13 HeartB or Leo; Christ of Judah or lion (felid) crowing Princess Antonia, carrying curved palm branch as scythe (weapon, death).

13c Basket Head; Scroll (oracle, weave) fist section (head).

14 Mixer or Cancer; Pink angel (angel) holding scroll.

15 Maker or Gemini; Red angel (winged) trumpeter.


Axial centre; Golden angel’s elbow (limb-joint).

4p Galactic South Pole; Purple angel’s shoulder (limb-joint).

11p Galactic Pole; Antonia’s shoulder (limb-joint).

Summer; Pink angel’s lower hand (limb-joint).

Winter; Unmarked.

The marker and the horizontal plane place summer between axes 13-14 or Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, about BC 1400. This era, between the generally alchemical and astrological time-frames, support the theme of heavenly eternity. The golden angel as type 1 Builder is in the middle top, perhaps a spring marker confirming the time-frame as the perceived alchemical or eternal past.

A general theme in the Bridal procession is type 13 Heart, of death (afterlife), eternity (heaven), or platforms (registers of clouds). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score is 35/68 archetypal features; 18/16 axial points; 15/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 0/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 1/2 general themes; thus 76/100, minus 5 extra characters off the axial grid; total 71%, in the top half of the sigma curve of averages.

Structuralist data confirm visual ‘grammar’

Structuralist analysis scores in the three mindprints in the central panel is 92%, 87%, 60%; in the Flight to Egypt wings 64%; in the Bridal procession 71%. Their total average is 75%, in the upper range, against currently known subconscious features in visual expression. If more universal average elements are discovered, score weighting between the layers may change. The scoring was designed to identify whether an analysis had identified the subconsciously ‘intended’ typological identifications; sequence; axial grid; polar markers; and time-frame elements. Any result above 80%, or below 40%; or consistently high or low results in artworks that could be grouped by place, time, style, or media, would indicate bias in the identified structure, or in the scoring. Given the complexity, and the consistency of about 700 test results in artworks from a wide range of cultures, styles, and eras, the method is deemed sufficient for confirming subconscious expression of archetypal structure. The unusually high score in the bottom two registers of this dense esoteric work by a team of advisors, could be ascribed to meditative integration.

Art expresses conscious and subconscious meanings

Over-conceptualisation alone (as in some paintings by Blake, and Poussin) do not achieve excessive scores, but lower some scores due to conscious interference between inspiration and design. Over-stylisation (as in many Mayan, Aztec, and some modern works) could also damage the structure of visual expression, unless it is integrated into the content and design by meditation, which in artists (as in poetry) could be defined as a process to suppress conscious involvement, and enable subconscious eye-hand-mind co-ordination. ‘Conceptual’ art typically has fewer than eleven characters, and express single types, not archetypal visual ‘grammar’. Mindprint is as innate as Zipf’s law (the frequency of words in any language follow a regular scale); or the periodic table of stable isotopes and transition elements; or the universal syntax and sub-systems in language, as Chomsky identified; or irregular cosmic geometry as Gombrich identified. Natural structure informs all of nature, including cosmology and culture. Thus most recurrent features in different works and in different media, are sustained by subconscious inspiration; while very few features are sustained by arbitrary convention (Furter 2016, in refutation of the trance convention theory). The Bad Teinach esoteric teaching board scheme contains many consciously recognisable universal features, such as planets, angels and gods, but no conscious construct or convention could explain the five layers of semi-optional features in hundreds, and probably in all artworks, built sites and other spatial media worldwide.

Double and triple grids usually interlock

Interlock between the three mindprints in the central panel, confirm each analysis, and confirms the middle register or ‘college’ mindprint twice. Interlock is never perfect, and adjacent axial grids never share any continuous axis; as if there were some lapse of orientation or time between every imprint. In complex works, the analysis scores are often lower due to lesser integration of conscious symbolism into the subconscious structure. But the Bad Teinach triptych is a masterpiece and a triumph of mediation, integration and esoteric craft.

Protestant, pagan, secular art, and rock art, has similar works, of similar subconscious complexity. No culture and no era has a monopoly on art, philosophy, alchemy, astrology, esoteric crafts, culture in general, or the expression of archetype.

Bad Teinach church exterior (after Pamela Coleman Smith).

Some Sources and References

Alchemia, 1615. Cabala as mirror of art and nature

Chomsky, N. 1986 Knowledge of Language. USA. Greenwood

Coetzee, Cyril, 2016; Princess Antonia’s Lehrtafel. Arts Society public lecture; Johannesburg

Dixon, Laurinda. 2003. Bosch. Phaidon

Endicott, K.M., & Welsch, R.L. 2005. Taking sides. Third ed., Iowa, McGraw-Hill/Dushkin

Furter, E. 2014. Mindprint, the subconscious art code. USA:

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:

Furter, E. 2018a. ‘Babylonian Plough List decans’.

Furter, E. 2018b. Stoneprint tour of London. Stoneprint Journal 4. USA:

Furter, E. 2018c. Culture code in seals and ring stamps. Stoneprint Journal 5. USA,

Furter, E. 2019a. Rennes le Chateau stoneprint tour. Stoneprint Journal 6. USA,

Furter, E. 2019b. Ayahuasca artists express universal structure. DMT Times /Archetypes.

Gombrich, EH. 1979. 1984 Sense of Order: A Study in the Psychology of Decorative Art. Cornell University Press

Jung, C.G. & Jaffe, A. 1965. Memories, Dreams, Reflections. New York: Random House

Jung, C.G. 1945. Philosophical tree. In Collected Works 13: Alchemical Studies

Jung, CG. 1951. Alchemical Interpretation of the Fish. Aion, CW 9, 2

Levi-Strauss, C. 1969. Raw and the cooked. Chicago. University of Chicago Press

Levi-Strauss, C. 1973. From honey to ashes. London. Jonathan Cape

Levi-Strauss. C. 1981. Naked man. New York. Harper & Row

Neugebauer, O. & Parker, R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. USA: Brown Univ Press

Norfleet, Phil. 2015. The altarpiece of Princess Antonia.

Roche, G.T. 2018. Temptation of St Anthony; on chemical mysticism.

Rohl, D. 2007 Lords of Avaris. Century

Thompson, S. 1928, 1961. Motif index of folk literature. Ellis ref GR 67.T52. http://www.StorySearch

Uther, H.J. 2011. Types of International Folktales: A Classification and Bibliography. Helsinki: Academia Scientiarum Fennica

Zipf, G.K. 1949. Human behavior and the principle of least effort. USA: Addison-Wesley