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 http://www.edmondfurter.wordpress.com).
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.
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.
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).
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).
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 http://www.edmondfurter.wordpress.com
Rhedae, ‘Chariots’ or ‘Wagons’, was a Visigoth city, either at Limoux 13km northward, or at Rennes le Chateau. This natural citadel with access to groundwater, was a wagon horse grazing station behind Couiza, on the Aude river and land crossroads. The name could be from Regnes, Kingdom in Catalan. A castle and village here was inevitable. A Roman road to Bains passed just north of Rennes, via 14 L’Escale, Stopover Inn. Another passed further south. Amphores, a mosaic, and Republican and Imperial coins of Julius Caesar and Augustus in a waste tip behind Escale ruin, dated since BC60, and indicate colonisation extending to Bains from BC46 (noted Val Wineyard).
Rennes le Chateau’s subconscious landscape includes Couiza, and is as complex as in the earlier, adjacent Bains. At Rennes the eternal structure is now identified at several levels of scale: in the church domain (see another post); church floor plan (see another post); and church mural statue group (see another post). The same applies to cities, including Paris and London (Stoneprint Journals 3, 4). Priest Sauniere, like Boudet in neighbouring Bains, unknowingly served the global, subconscious agenda of all cultures, each in different styling. His conscious plans, and his income from selling masses and holy water by post worldwide, were curtailed by an egalitarian bishop in Carcasonne, and by the French Minister of Religion, after his royalist restoration agenda became too daring in an 1885 election sermon.
3; Coume Sourde. See Rennes les Bains stoneprint, type 3, in another post. The two Rennes axes 3 meet here.
3-4; God’s Valley hill, Lavaldieu, a small sharp height with a hamlet on top, probably part of a separate Bains South stoneprint. It had a 1000s chapel of Knights of St John of the Cross….etc….
4 King; Washing, Labadous. Esoteric author Elizabeth van Buuren, daughter of USA president Martin van Buuren, bought the land and built a square (rectangle) fountain (pond) with four (two twins) sitting (squatting) lions (kings) facing inward. Inside was a heart shape (more typical of 12) of rocks, outside a heart shape of 333 roses, half 666, ‘of beast or man, a welcome to aliens in the last days’. At the entrance to Rennes, she placed a Sacred Heart placard, at a track to a supposed Lemurian underground temple, Agartha (more typical of 12)….etc….
4p Galactic South Pole; Couleurs cliff (junction). Windmill ruin of 1600s restored as ‘Visigoth tower’ (armoury, of 12 opposite), by Van Buuren (see 4 above).
4p; Pump source, Pomp (spout).
4p; Trees planted in a V-shape, for supposed ‘UFO ascension’ (5 ascend, judgement) by Van Buuren (see 4 above).
4p; Hole, Aven (juncture), due south of Rennes. Former guest house owner Noel Corbu marked this hole as a treasure site, but see 6 Casteillas below.
4p; Boudous, at Tables or Inn of Balm, Borde d’en Salva.
4p; Four Righteous source, Quatre Ritous, probably emperors (4 king); or royalist priests suspended by the Minister of Religion, Goblet, for preaching politics in the 1885 election: Rennes Abbe Sauniere, Roullens curate Tailhan; Bourriège curate Jean; Alet les Bains vicar Delmas….etc….
5a Priest; Colours stream, Couleurs (varicoloured). Caves and mines on both banks. A gold statuette was found here (noted Stanley James). In a field in 1860 a 50kg ingot was found, and 20kg of melted Arab coins.
5a PriestB; Sarrat Pelat hill, Soubiros.
5b Priest; Cubic stone, perhaps a model for some artworks, such as Pietro (‘Stone’) Perugino’s Galtzin triptych of St Domenico in St Gimignano (noted De Raaf). He painted Magdalene with her ointment jar (5c container) in the right panel, under a cubic rock, her posture as of the central Mary: arms below belly, fingers forming three X’s (see Rennes le Chateau church floor plan, 11 altar, in another post).
5b; Furnace or Oven Cave, Fournet (of 4), south of the stream, renamed Magdalene Cave (5c container) by Van Buren (see 4 above). Near a stone with a foot hollow and scratched crosses (ritual), now at Magdala Tower, which is visible from the cave…etc…. Wilkinson (aka Hammott) hoaxed (see Rennes le Chateau hoaxes high and low, in another post) a small chest with ‘parchments of Solomon’s key’ in the cave (5c container, texture).
5b; Soubiros village east, cross-paths.
5b Priest B; Receded southern cliff.
5b B; Plateau of White Fort, Sarrat de la Bezu. Gold finds (see Rennes les Bains map, type 4, in another post).
6 Exile; Casteillas hill village, Castillium, Small Fortress. On Soubiros Hill, twin peaks (two-headed). Casteillas is on a steep bluff with a ‘horse’-shaped rock, far from Rennes (egress), but visible from Magdala Tower. It had a windmill (while Bains Lovers Source had a water mill, see Rennes les Bains map 6, in another post). Bals valley caves had Bronze Age bodies, axes and articles (sacrifice). Casteillas has Iron Age ruins with red paint (sacrifice. See Rennes le Chateau church floor plan 2c, in another post), gold coins of BC300s to AD50s, including a Roman Janus (double-headed); and Visigoth, Crusader and Marauder treasure legends. Legendary shepherd Ignace Paris in 1645 recovered a sheep, slid down a hole, found skeletons and gold, filled his pockets and wallet (5 tailcoat); refused to tell from where (5c secret), and was stoned (6 scapegoat) for theft….etc…. Mythical hero Paris chooses between virtues (see trump 6, Lovers, or Paris’ choice. Types, trumps and hour decans table, in another post). Former Belgian owner Philippe Schrauben sold the site to re-publish Boudet’s book in 1984 with a preface: ‘True Celtic Language, and of Merovingians of Rennes le Château, myths and realities; response to Plantard, Lincoln, Vazart and company.’
6-7; Mine marked 1894, crystal ceiling, mud banks. A movie team said they entered 250m “under Rennes hill” (6 ingress). Geology faults tend north-east.
6-7; Pailheres, Haystack, Bed (7 bag).
7 Child; A Bals source.
7 Child B; Campagne les Bains.
8 Healer; Les Estous, hamlet due west or Rennes, east of Linas ridge. On the coast route passing just south of Rennes to Bains. Estous could be from Easter, near the spring equinox, Frenzy in Latin….etc….
9 Healer; Esperanza north, west of the Aude river. Former southwest part of 10-11 Montazels. Felt hat industry (more typical of 9c). English speakers live here.
9c Lid; Cremation ossuary, 200m long, east-west, skeletons stacked in layers. Revealed (revelation) by work on the new access road 1908. Perhaps Cathar bodies, one of several ossuaries. The Rennes area may have been a cemetery and underworld due to caves, an afterlife Arcadia of Couiza.
10 Teacher; Roman road stage (guard), south of Belviere.
10; Belviere. And Joseph Mountaint. Rennes sunsets 13 Jan and 28 Nov.
10; Pastabrac, Couiza industrial zone south of the Aude.
10-11 Founbit, dinosaur egg nest (11 womb). See Rennes le Chateau church mural, type 4, in another post.
10-11; Montazels, south-west of Couiza. See Rennes le Chateau church mural, type 4, in another post. The Celtic Nemeton gathering (10 council) may have been here, serving 9 Esperanza and 6 Casteillas (see Rennes church mural 2c, in another post).
11 Womb; Fumade Rock, ‘Smoked’ (Salted Fish), a Fort and Roque (pronounced Roca) on a small ridge, just north of a track, perhaps a Roman road. Some war and plague victims were dumped here (tomb), perhaps for raptors to clear.
11; Couiza, at the Sals-Aude confluence, formerly navigable. Celtic crossroads market. A Visigoth monastery on higher ground near the confluence about AD400 built a small church, later St John Baptist, starting Couizanum, from Cupitius, Cusius, ‘Lusty’. Oyster shells remain in the river gravel. The church town crest and church window have a Eucharist wafer (wheat) in a grail (11p hour decan Crater. See Types, trumps and hour decans, in another post), on a cross (11p juncture); with a star above and a Paschal lamb below, of the wool industry. These Visigoth monks also started Rennes le Chateau castle in 414, perhaps using Roman loot…etc….
11; Joyeuse Castle in Couiza, a river ford palace with trapezium courtyard (interior) and moat (water), on a Visigoth foundation with crypts and a tunnel (interior) under the cold room, now silted up. It supplied crops (wheat) to the Crown. See Joyeuse castle, palace of privilege, romance and tragedy, in another post.
11; Place Bistan, ‘Garden’ in Arabic (11 interior), in the centre of Couiza.
11; Ulpian bookshop, named after a Nostradamus verse, perhaps about Rome’s Basilica Ulpia in Trajan’s forum, after his family name, Ulpius. An unidentified temple and niche behind the basilica, completed by Hadrian and his wife, expresses type 11 Womb in Trajan’s Forum (Furter 2016; p354-355). That temple is now under Valentini Palace, between Bakers Guild’s St Mary of Loreto (womb) dome, and Sts Nome and Mary (womb), on Rome’s axis 11p. Above the colonnades were gilded statues including a chariot, ‘From spoils of war’. Rome’s treasury was nearby in Saturn’s temple on the Capital. Visigoths brought Roman loot to Rhedae, ‘Chariots’, c414. Or the verse is about Ulpiana Splendid, a Roman city in Cosovo named for Trajan Ulpius, near silver and lead mines, and a mound grave (grave) of a princess (womb) with a silver treasure of BC200s. A quake in 581 ruined Ulpiana. Nostradamus notes a quake revealing graves in Century 8:66; “When the DM writing is found [his son’s emblem paintings?], and ancient cellar (cave) with perpetual lamp [9c] discovered; Loy, Roy [4 King] & Prince Ulpian [Trajan’s son?] is proved, Pavilion Royne&Duc under the cover.” (9c)….etc….
11; Couiza gypsum mine, Encantados. Mining exposed a dolomite cave (interior). Aude counsellors in 1900 entered 500m. Closed 1914, re-opened 1940 by Castel, then by Siau. The Couiza end collapsed on ‘Spanish’ Clement’s men and horse (tomb).
11p Galactic Pole; Olive press, Les Oliviers. Legendary Olivier was a friend of Roland. The name is from Germanic for Alphen Army or Ancestor (12 ancestor). The Latin word means olive.
12 Heart; Les Pras, hamlet on north bank (water-work).
12; Rennes Castle (interior, weapon). Its cemetery is closed off. A water tank passage (water-work) was reopened 1999.
12 Heart B; Condamine, surname linked to Hercules (felid). At Monaco port a statue shows a lion-headed man and siren with a golden apple or heart. Condamine town logo has a lion head, half Fleur de Lys bee, and chapel (13c).
13 Heart; De Lauzi source, perhaps from Almond (tree, of 14).
13; Stone Huts, Capitelles. Round corbelled huts (interior) for shepherds, lambs or bees (of 14), worldwide.
13; Caustaussa Mill, Moulin (water-work), north bank, formerly south, now an old age home, race and bases remain.
13 Heart B; Coustaussa, Custodia, Guardian, castle (bastion) between Bains and Rennes. ‘Farmers’ Generals’ controlled the hated salt tax, gabelle. An old map labels this area Materre, My Land. In the church, the murderer (death) of priest Gelis on 1897 Nov 1, scrawled “Viva angélina,” perhaps for ‘Viva ange linea, lignée des anges, Long live the Angelic Society’. Their nickname was Brouillard, Fog or Mist.
13c Head; Stone circle at New Mill, near old millrace, at a Rialsesse bridge.
13c; Stone well near the river, perhaps a wishing or spells well (oracle), now filled and blocked (lid), noted Val Wineyard.
14 Mixer; Stopover, L’Escale, camp or Inn on the old Roman road; amphorae, mosaic, coins.
14; Water Wheel, Rodier, east part.
14; Catchment, Captee dam.
14; Cassiopeia Hill, 61 degrees ENE from Rennes St Magdalene, sunrise on her day (time. See Rennes le Chateau church plan, type 14, in another post).
14; Cassaigns. And Bains axis 14.
15 Maker; Mouscairol depression.
15; Siala plateau.
15B; Wolf Pass, Pas du Loup (canid), on the Coustaussa road north of Sarras. Near fortress ramparts. Of Lupé family, Wolf, of Pilat region. And Bains axis 15.
15B; Peyre Picade, with a source behind Red Plateau, Sarrat Rouge, flowing north to the Rialsesse. Near hamlet Jaffus, Craft Goods (bag).
15B; Fayne-Peyude, ‘Gladly Gained’.
Rennes landscape archetypal axial centre is in the village, near the castle, at Dragon of Wheels, ‘Dragon de Rhedae’ restaurant. The centre is analogous to the ecliptic pole, dragon myths, and Draco constellation. Rennes had three churches (polar trio); The castle’s first outer chapel St Mary, later changed to St Magdalene; St Peter (initially St John?) built by Voisins about 1300 in St Peter Street, 60m south of the church (see Rennes le Chateau church ground plan, type 9c, in another post. Coppens 2012. Smith 2018); and the castle’s alter inner chapel, later to St John Baptist. The hill has rifts, water tunnels, boreholes and treasure digs.
Midsummer is on road D52 bend (juncture) north of Rennes (see 11p above).
Midwinter is on the southern road fork (juncture), at an imagined ‘Roman Tomb’ between Rennes and Couleurs windmill cliff (see 4p above). The celestial polar axle lies nearly north-south (orientation).
These markers place summer on axis 12, analogous to Leo, implying spring and the cultural time-frame as Age Taurus1. The Taurus1 time-frame is confirmed by legends of Isis, replaced by Artemis, replaced by St Magdalene. These emblems are analogous to hour decans 15 Sirius, 1 Auriga, 2 Pleiades and 2c Algol, which in turn hosted spring sacrifice and adolescent rites. The archetypal and stellar spring point remains part of type 2 Builder. The celestial spring point moves with Aries ‘sign’, dragging some type 3 Queen myths with it, as it did through Pisces constellation from about BC80 to AD 2016 (Furter 2014). A parchment text noted ‘an Isis temple at Rhedae, renamed Magdala under Titus AD 70’ (Smith 2018). The date reflects destruction of the Jerusalem Temple, and the start of Christian legends. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.
==Extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities. Order the book, or journal editions; or contribute articles, on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg.
Rennes les Bains attracted many legends: a Greek ‘Arcadia’, a Celtic ‘stone circle’, a Roman ‘Legion’, Judaeo-Christian and Visigoth ‘royal exiles’, Cathar heretics, Templar ‘geometers’, and correspondence theorists. It welcomed dinosaurs, Ice Age hunters, outposts of Gauls, Romans, Jews, Visigoths, Cathars, Spaniards, Franks, Crusaders and the Church; to its cool, hot, and salt water, grazing, strategic cliffs, building stone and minerals, just off the Aude river trade route from France’s Mediterranean bays. Each polity left some foundations, mines, graves and names, worn thin by economic, military, political and theological occupations and suppressions.
In contended places, history is elusive. The first known settlement in the Sals river basin, between the Blanque confluence and Rialsesse confluence, was a Roman village (see 10 Montferrand below). Its castle ruin became one of the sixteen axial points around the spa resort, Rennes les Bains, ‘Wagons at the Baths’. Its sources are at 3 Clots or Mud; 4p Circle; 5a Magdalene or sulphurous; 6 Lovers; central Queen or Reine under the Residence at 40°C; Bains Forts on the right bank under the Hostel 47.5°C, both blocked due to bacteria; 12 Pontet; and 13 Sweet or Doux 37°C. 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. Order the Rennes archetypes guide here: http://www.lulu.com/shop/edmond-furter/stoneprint-journal-6-rennes-le-chateau-tour/paperback/product-23969009.html
General archetypal themes on this site include the half-types, 2c, 5c, 9c, 13c, of secrets, codes and revelations; type 12/13 Heart, of war, forts, death, water-works and passages; and 4p, of junctures and water. Some archetypal features are natural (confluences, springs, stones), most are cultural. Archaeo astronomer Alexander Thom, who surveyed Celtic monuments all over Europe, noted “a pattern in the landscape” at Rennes. Many authors have sought conscious survey schemes here. The stoneprint model reveals subconscious behaviour that could resolve the search for ‘codes’.
Type label; Site (noting archetypes): SEE MAP:
1 Builder; Head of Man, Cap de l’Homme, named by Boudet (1886) after a rock knob carved as ‘head of Christ’ (see photo below). He broke it out for a collector at Alet les Bains, but later cemented it into his own presbytery wall, now in the museum. It is probably a water goddess (rain), or Mitra, ‘Bond’ or ‘Friend’, an Indian, Iranian and Roman god (see Stoneprint Journal 4: London), rock-born (builder), with a lightning bolt (lightning, sack), also the label of an initiation grade (see Rennes le Chateau church plan, 15g doors faces, in another post). Mitra resembles Perseus as bull-killer with a dagger (twisted posture, bovid, spring sacrifice). Some stones here are engraved with Christian crosses front and back (cluster). On a small rise is a horse-head or altar rock that had ‘ears’ or ‘horns’ and a cross, next to Fist Rock.
1; Defence Rock, Roc d’en Barou, on a ridge between two paths.
1; Violets Hill, Col de Violas (former spring), on the same ridge.
1; Hairpin track bend (twist) between Violets and Cabanasse. Boudet labels the plateau above it Brugos, Heather. Rennes le Chateau axis 1 also extends here.
2 Builder; Halo cliff, Auriol, equinox sunsets (former spring). Rennes le Chateau axis 2 also reaches here.
2c Basket; Breiches ridge, over a wash to the Sals in town. C-types are off the grid, but within their own narrow sectors.
2c; Coast, Plas de la Coste, on the plateau.
2c; Cross of the Circle, Croix du Cercle.
2c; Clots ruin, 50m north-east of 3 Caunes mud source. Brouillard (2009) found a small cavity in a pilaster, where a stone shelf was broken off (see photo below), containing a thin slab with chisel marks (container).
3 Queen; Mud Rock, Roc d’en Clots (pool). Boudet noted; “Left is a view to Bains spa [named Reine (queen)] and church. Nearby are chiselled five Greek crosses by the first Christian missionaries [implying that Celtic Christianity preceded Rome], sign of redemption (sacrifice). Roman Republic conquests had plunged Celts [‘Stone People’ of the Bronze Age] into a deplorable state.” British Celts would sympathise. Someone later carved similar crosses elsewhere (see 4, 6, 13 below).
3; Cave, Caunes (more typical of 2), Shrine (priestess) in Occitan, muddy source (pool), 50m south-west of Mud Rock. Boudet labels it Ruisseau des Hounds, Current of Dogs, a pun on caunes as canes (but see trump 3:18, Moon, over two dogs or dragons at a pool, indicating Boudet’s archetypal inspiration. See Types, trumps and hour decans table, in another post)….etc…. Caunes drains south-west into Trinque Bouteille, Clinck Health Bottle (2c container), and to the Blanque. The Red Serpent poem links mud to Cross Station VII and Ps69;15; “Jesus exhausted falls again (sacrifice). Pull me from the mud (pool).”….etc…. King Philip Augustus fell in mud (pool) under a collapsing drawbridge at Gisors in 1198, and pledged to Mary for rescue. Nostradamus noted ‘a great Roman’s grave’, perhaps of this king named after an emperor (see Rennes le Chateau timeline, in another post); or of empress Elen of Maximus in Anglesey, Lady of the Lake (Gilbert 1999. See 11p Serres; and Rennes 11 Ulpian, below)….etc….
3; Ejaculation Source, Coume Sourde (pool, spring season). Ernest Cross found here a ‘Templar’ cross (sacrifice). Plantard faked the V/M stone with ‘Templar’ crosses (see Rennes le Chateau hoaxes high and low, in another post). Rennes le Chateau axis 3 also reaches here.
4 King; Trembling Rocks or Rollers, at Coast, Coste. Boudet labelled them among several Dice cubes (rectangle), and ‘Druid Council, Neimheidh,’ adding bad puns on ‘Neim, Name, Lead (king); Eid, anagram of Dei, God; H, Homme, Man’. Near a stone-lined grave (king), 2×1.5m (rectangle), facing east.
4; Devil’s Throne (king), of 1700s Count De Fleury. A cross was chiselled on (spring in Age Pisces).
4; Dead Man, l’Homme Mort. Boudet labels it Moorish Man; Coume Sourde stream as Moorish; its western end as My Gauls or Monarch Gaul (king), Mon Gauloise (the cigarette brand is later).
4; Bezu. Three rear guard castles on the southern Roman road from the coast: West at the hamlet edge; and Tipler outcrop; and at Jasse is Bezu castle, Albezu, Albedunum, White Fortress (rectangle, walls), later a Roques-Rouge family sheepfold (see trump 4:19, Sun, furnace and wall. See Types, trumps and hour decans table, in another post). A mansion of Pierre de Voisins of Rennes, donated as a Catalan command, with ditches and wood walls (walls), named Mas Deu, Mansion….etc…. Re-melted gold (furnace) was found near Bezu. Voisins and Fermes families minted counterfeit coins (king) here. Below the ruin is Tipler hamlet, near Charbonnieres, ‘Treasure Chest’ estate, and Jacotte Inn….etc…. Further south is Montsegur, last Cathar stand against Crusaders.
4p Galactic South Pole; The Circle, a natural formation partly under a house (juncture). Boudet saw it as the centre of a mill (see Landscape zodiac theories are a dead end, in another post), but it hinges only the ‘south galactic’ equator.
4p; Circle Source, Source de Cercel, a rusty trickle (spout). Its large Visigoth vase is now in the museum.
4p; ‘Old mine’ at a river bend, cavity near the water (juncture), perhaps ore wash (water), not a mine or tomb.
4p; Hermitage, stone walls under an overhang (juncture) at Blanque river ford (juncture), near Coume Sourde inflow from God’s Valley. A stepping stone (juncture) in the stream (water) is engraved with dragonflies mating (limb-joints) as interlocked spirals (juncture) around an ankh head, as the infinity ring in Blanchefort arms (noted Templarii3m). Several 4p points are common in site sectors, between axes 4 and 5.
4p; Castle ruin, El Casteil, and white stone heap. If an axial counterpart is found at Cardou’s western mining road, this castle could express a type 5a.
5a Priest; Magdalene Source (water), Madeleine. Assumed female initiation site (priestess, ritual, assembly). Boudet says it was Gode, Grail (priest), in the land register, and Serbairou foothill was Gode Hill. He forced a pun on Gode as ‘Go to Dice’ (see 5b Serbairou stone, below).
5a; Blanque-Sals confluence, Baptismal Font, Benetier (priest, ritual, container, assembly, water), under a bridge, pont (Pope. See Rennes le Chateau church type 5, in another post). Mixture (5 varicoloured) or ‘marriage’ of 6 Lovers source, 5 sulphur ‘tears’, 3 Mud via Health Bottle trickle, into Salt river. Magdalene’s Galilee has hot and salt water to preserve fish and bread (see Rennes les Bains as a New Jerusalem, in another post).
5b Priest; Serbairou foothill sports ground (assembly, ritual). Boudet’s only mapped ‘dolmen’ (5c container) is near the river on Serbairou west, Gode Hill, Grail (5c container). He puns badly on Ser as Bolt, Lock; Bai as Bay, Pond, Mill Dam. But he notes a Thimble (5c container) 10m from a mine, probably a small grave, with a cross and focus hole (as at 10 Montferrand), ‘aimed over  Bains church steeple to  Black Rock and  Blanchefort.’ Thus Thimble was near 6. Boudet adds a chapter on boar hunt: “In mountains with deep woods… hideout of boars, are terrains [(assembly)] named pijole, pijoulet; pig, to pork, jole with the head [tilting contests, with a grail as prize]. The Pijole of Bains is at Serbairou, south of two rollers or shaking rocks.” These are at 5c Bordeneuve, not 4 Tremblers. He notes one of Hercules’ twelve tasks….etc…. He wears a lion cape (felid, of 13 opposite), for tasks (hyperactive) as punishment (judgement). South of Serbairou lies Charbonniere, Treasure Chest ridge, where Boudet places Gound Hill, Ulcer.
5c Basket Tail; Serebairou Hill, Gode, Grail (container. See 5b, above).
5c; Bordeneuve, New Tables or Inn, at a cubic ‘dice’ stone. Brother Dubosc had re-worked an old jet stone mine here.
5c; Yellow Tables or Inn, Borde de la Canarine (5 varicoloured).
6 Exile; Lovers Source, Amours (marriage. See Trump 6, Lovers, or hero Paris’ choice. See Rennes le Chateau type 6 Casteillas, in another post). Mill ruin. Modern relief of salamanders downward entwined (double-headed). On a rock seat, Plantard or Lincoln faked an engraving of a pierced heart (sacrifice) inscribed ‘Calvet 1891’ in plaster, hinting at opera star Emma Calvet as Sauniere’s love interest (Dietrich 2018) in the year of his discovery.
9c Basket Lid; Soul, Soula; and grain silo (container). Boudet notes Kairolo, Cereal, Calendar (10 wheel), Secret (revelation), and puns on ‘Key (container), Ear (oracle), Hole’ (silo), where ‘Celts sowed grain, shared bread, and heard words of faith’.
9c inner; Lime tree, Tilleul, on the riverbank in the graveyard, perhaps a survey hub (instrument. 10 wheel).
10 Teacher; Montferrand, Iron Mt (metal), first village (market) in the basin, water and wash at Coudal, Elbow, or Captee, Gather [ore] (metal). A Roman expedition BC50 found iron, lead, jet, amber, salt, warm water, low grade gold and copper. On the high point was probably a Roman tower (guard) watching Bazel mine. Used since 500s by Visigoths, Cathars, Franks. A 1700s castle (guard). Fleury family fled Revolutionary looters in the 1790s. West were graves at stone crosses with ‘telescope’ holes. Further out is Capt Boyer’s mine. The road to Sougraine (see 8, ablvoe) was via Bains.
10; Villeneuve, between Montferrand and Bains, at a source and pump.
10; Bains church to Sts Nazaire and Celse, a Milan preacher and disciple martyred by Nero. They are also linked to Carcassonne, Atun, and Lazarus. In the porch between church and cemetery is a crucifixion memorial to Abbe John Vie, successor of Vicar Delmas, but dated 1856 at the death of Delmas. Vie died 1872. Delmas’ cross is on axis 11 at the village entrance road cliff. Another cross stands slightly eastward, on the Villeneuve road, in line from the church to Bazel hill mine, inscribed ‘Jubilee 1854’ or 185L. The three crosses may imply the church as a survey ‘windrose’ centre. Delmas had described many Roman items of gold, silver and bronze. A hallway slab notes Boudet and his brief successor Joseph Rescannieres, 1914-1915.
10; Town Hall, Mairie. Church garden.
10-11; Museum, Salle de Patrimoine.
10-11 outer; Pontils stone and tomb near bridge and a confluence, 1600s, a Poussin scene (see Archetype lives also in Arcadia, in another post). Battle memorial or Rhedea border. Near a Mitterrand Paris meridian marker (see 11p Serres, below).
11 Womb; Cardou Peak, from Chardons, Thistle in Occitan, or spikenard, herb of Magdalene. She expresses types 2, 2c, 14 or 11, the latter when pregnant. Or from Cardinal, Central or Across. Highest peak in the valley, symmetrical, rounded (womb), in focal view from the village street. It has mine shafts and a rumoured tomb (womb).
11; Bazel hill, rounded (womb), with a mine and rumoured tomb (womb). Brother Dubosc reworked its gold mine. Marquis PFV De Fleury of Rennes, husband of a Hautpoul, got the licence instead in 1789. Revolution intervened.
11; Delmas Cross in village cliff (see 10 crosses, above). Rumoured tomb (womb).
11; Roman signal obelisk on village cliff, with enclosure walls (interior) and spiral stairs, as at Greoux les Bains. The base remains. And Quarries Squadron, Carrieres Escadados (noted Gralssuche).
11; Queen’s Baths, Reine (womb), …. etc….
11; Roman Forum, Deposition Wall to report crimes (law). Boudet found a Venus statue (womb) in house Chaluleau, sold in USA; and a water container with Christian cross …. etc….
11p Galactic Pole; Lambs, Lampos, white rocks and mine waste (juncture) …. etc….
11p outer; Serres, Serre, ‘Hothouse’, or Greek Sirios, Sun, a city in Macedonia; or French town Serres. Boudet punned on Ser, Bolt, Lock, Castle of 1500s. On the France meridian (juncture) from Dunkirk via Paris observatory to Prats de Mollo. Cassini’s 1600s survey is celebrated by Mitterrand’s 2000 ‘Green’ line. One marker is at Serres bridge (juncture). The other Mitterrand marker is at an old olive tree at St Peter’s church. Inside on the ceiling are two connected crosses on ‘rocks’, perhaps for Christ and Peter; or Paris and St Sulpice meridians; or Pachevan and Pontils tombs (see 10-11, above). Pontils is north of road D613, north of the old Roman road. Nostradamus noted a tomb ’beside the pavilion [Pachevan? Vatican?], near the greenhouse [Serres?], where the wild beast lay [Arcadia?].’ Perhaps of Christ, or a Habsburg, Christian Rosenkreutz.
11p inner; Roman altar base inscribed C Pompeius Quartus, 100 (Centurions) Pompei’s Fourth. Perhaps fake, now in the museum. Delmas (1709) noted this division was unknown, and doubted a local garrison (Smith 2018).
12 Heart; Sals-Rialsesse confluence, salt into fresh (water-work). Basin exit at Mourette, a family crest of three Templar crosses over spread eagle (raptor).
12; Pontet source, on Barrier Hill, above its pipe (water-work) at the Sals. Perhaps Blesia, Bles, gold in slang.
13 Heart; Blanchefort castle or lookout ruin (bastion), over a tunnel, cistern and hand-pump (heart, water-work). Perhaps a 900s Visigoth post (war), or Roman salt tax base. Blancafort Castrum was in a 1067 tribute to Barcelona County. Jaffus Abbey had it in 1100, in a turf war with Alet les Bains abbey, to whom Pope Calixtus II gave it 1119. Templars claimed to re-open a gold mine 1130 or 1156, using German smelters who could not speak to locals. They may instead have re-smelted Arabic or other booty. Bertrand de Blanchefort, fifth Templar Grand Master, was also linked to German miners and finance. Lord William of Blancafort fled royal forces in 1230. Montfort’s aide, Pierre de Voisins, received Rennes castle, Bains land, title Blanchefort, and taxes 1231 (see Rennes le Chateau type 11 Couiza, in another post). Rebuilt on the raised tank 1300s… etc…
13; Black Rock, Roque Negre, and mine (interior). Water tunnel, legendary underground ‘round temple’ (rounded), mosaic floor (see 13 Blanchefort above), or buddling tank (water-work)…. etc….
13; Rabbit Warren, Clapiers (interior).
13; Sweet Bath, Bains Doux, hot source, pipe at the river (water-work). Boudet labels the building Fangallots, ‘Escape from Gallows’ (death. See trump 12, Hanged Man inverted from gallows. See Types, trumps and hour decans table, in another post)…. etc….
13c Head; Finger, Pointu Rock, yellow, between Blanchefort, Black Rock.
13c; Favies spring and ruin, perhaps a former shrine (oracle).
13c; Blanchefort peak and west cliffs, once fortified (13 bastion). See the profile of this peak from a low angle, in a Poussin painting, in Archetype lives also in Arcadia, in another post.
14 Mixer; Paths below Cabanasse, nearer the centre (ingress)… etc…
14; Bains Doux path bend and fork.
14; Cassaigns. Rennes axis 14 also reaches here.
15 Maker; Coumes, Fountain stone north of Cabanasse.
15 Mouscairol. Also Rennes axis 15.
15g Galactic Gate; Cabanasse, ‘Cabin, Tent’ (15 bag, rope), and stone cross Cugulhou, ‘Windbreak, Jacket’ (15 bag).
Axial centre; at the edge of a yard behind the Post Office.
Midsummer; Shepherd’s House track end (juncture); or Doux hot spring.
Midwinter; Isolated building on the east bank. These markers place midsummer on axis 13 or 13-14, analogous to Leo or Leo-Cancer, implying spring and the cultural time-frame in Age Taurus or Age Taurus-Aries. The transition was about BC 80, from Imperial Roman to Republican Christian Ages. It is confirmed by the general theme of 2c Basket of Mysteries, here in the Breiches knoll sector; and 9c Lid, here in the Soula and Kairolo Granary sector. Structural layers of expression are subconscious.
The above points are marked on an axial grid on the Rennes les Bains map.
All cultures subconsciously express the same five layers of archetypal structure in artworks, building sites, cities, myths and other media. But in Rennes les Bains and Rennes le Chateau, archetype also bubbles into semi-conscious symbolism and legend more than usual, as it does in special places. Here the raw materials of nature, characters and events are particularly diverse, interwoven, and emotionally charged.
In the area is a mindprint in an artwork of 3m diameter; and stoneprints in a church floor plan of 8m x18m; a presbytery ground of 60x90m; a village of 300m; and two landscapes of 3.5km diameter each. The two village landscapes express two adjacent and interlinked flattened spheres, together spanning about 9km. Each imprint has the usual axial grid between their eyes or focal points; and the standard sequence of character types; and the average numbers of optional features; and five polar markers on limb joints or junctures; and a time-frame orientation dating their inspiration in cosmic terms (see The mindprint model of archetype in culture, in another post).
In this hothouse of culture and legends, the eternal archetypal structure is camouflaged in an unusually wide range of styling. Apparent ‘cultural’ diversity is only skin deep. The structuralist anthropology model of optional recurrent features, reveals that our compulsion to re-express a particular pattern, co-exists with our conscious compulsion to use culture to bond; to claim material and spiritual goods; and to exploit supposedly ‘other’ tribes.
One of the local legend-makers was Rennes les Bains priest Hendri Boudet, who wrote ‘The true Celtic language and stone circle of Rennes les Bains’ in 1886. He visualised a large ‘circle’ of outcrops and markers around his village, supposedly ‘coded’ into place names that he rationalised into multi-lingual puns. Ironically, his simplistic correspondence theory came closer to subconscious truth, than any of the conspiracy theories imposed here by various visionaries and hoaxers since the 1950s (see Rennes le Chateau hoaxes high and low, in another post).
The core content of culture remains unaffected by theological, political, academic and esoteric agendas. Even hoaxes do not erase the ‘grammar’ of culture. Artists, builders, societies and institutions subconsciously collude to weave the archetypal, natural, global, rigorous structure into artworks and building sites. Each ‘cultural’ revision confirms the blueprint, and shrugs off conscious meddling.
Rennes les Bains and Rennes le Chateau are two interlinked stoneprints
Five of the Rennes les Bains stoneprint axes, and five of the Rennes le Chateau stoneprint axes, extend to five shared features on the watershed plateau between them. These subconscious axial lines agree in their typology, thus their cycles are firmly ‘geared’ to one another. In seasonal terms, the Bains ‘months’ lie clockwise, and the Chateau ‘months’ lie anti-clockwise. But archetypal numbering follows hours, ‘moon’ stations, or decans, counted counter to seasons. The ‘geared’ points are:
14 Mixer; Cassaignes village.
15 Maker; Mouscairol, north-east of Wolf Pass, Pas du Loup (canid).
1 Builder; Hairpin track (twisted) at Brugos (as Boudet labelled it), between Violets Hill and Cabanasse.
2 Builder; Halo cliff, Auriol, a Bains latitude (former spring).
2c Basket; La Maurine, ‘Love’ in Egyptian, ‘Wished’ in Greek, ‘Dark-skinned’ in Latin, as of Magdalene (container). And the ridge west of Mud Rock. C-types are off the axial grid, in sectors between their adjacent axes.
3 Queen; Ejaculation Source, Coume Sourde (spring season, pool). On the watershed. Ernest Cross found here a ‘Templar’ cross (sacrifice). Plantard faked here a ‘stone slab’ with a V over M-shape, ‘Templar’ crosses at their intersections, and an inscription about ‘bisecting the M’, starting a series of ‘geometric code solutions’ (see another post; Rennes le Chateau hoaxes high and low).
The subconscious half of our works
The Two Rennes stoneprints are notable for the high number of natural features on their axial grids, indicating a close relationship between nature and culture, a kind of ‘Arcadia’, as the area is rumoured to be. Nature has many media of structural expression (chemistry, biology, species, ecology, and humans). Some of her media allow human collaboration (see Stoneprint Journal 2; Crop circles are natural artworks). Our media and ‘works’ resemble replication with some variation, as of species, inviting conscious study of the apparently ‘abstract’ patterns in nature and culture. Our innate tendency to use physical, symbolic and subconsciously logical aspects of nature, prompts crafts such as feng sui (fang zoi, ‘wind and water’). Endless speculation on natural ley lines, solar and stellar alignments, geometry, and supposed conspiracies, demonstrates our urge for gestalt; to see or to impose order and meaning on landscapes, places, people and events. Stoneprint demonstrates that the order is already in nature and in cultural media, and readable in our subconscious behaviour, beyond our conscious control. The quirks of individual and social expression of archetypal structure arise from the inherent properties of matter, energy, nature, perception, reflexes and inspired behaviour.
-BC 200s Southern French Gauls pillage Greek Delphic oracle treasuries. Some to Turkey as Galatians, some to France.
-BC 100s Couiza a Celtic market, perhaps at Pastabrac, Casteillas and Esperaza.
-BC 60 Rhedae a stopover in Septimania province, Occitan and Catalan area.
-AD 10 Titus takes Jerusalem Temple treasure to Rome.
-400 s Couiza Visigoth monastery south of the confluence, later St John Baptist.
-410 Visigoths sack Rome and take treasures to Toulouse, then Carcassonne, then Spain, as Franks advance. >To p20>
-414 Rennes Castle and chapel built by Couiza’s Visigoth monastery.
-650 King Dagobert II of Austrasia moves war loot via Rennes.
-660 c Gisele, daughter of Count Bera2 of the Razes, marries Dagobert2 of Austraisa, who plans to conquer central and southern France. They beget Sigebert(4).
-679 Dagobert II, ‘city sacker’, is killed.
-681 Sigebert IV escapes to the Razes.
-725 Saracen invasion.
-771 Monks rebuild Rennes church on the Visigoth castle’s external chapel.
-1062 Frank invasion of Rhédae, a royal citadel.
-1067s Rhedae declines. Ermengarde, daughter of a Count of Carcassonne, wife of a Vicomte of Beziers, sells all of Rhedesium to a Barcelona house. Her descendants, Trencavel, later reclaim some rights.
-1100 s Christian Templars regain southern France and Spain from Moors. Nobles invent Celtic, Roman and Merovingian ancestors, Christian relics, and sons of Christ at Narbonne.
-1130 Rhedae earldom merges with Carcassonne earldom of Trencavel family.
-1147 Redae lord Pierre de St Jean become a Templar, prominent by 1160s.
-1170 King Alphonse2 of Aragon attacks Rhedae, but the Trencavel family keeps the town and citadel, Du Haut (Smith 2018).
-1209 Battle of the Sals, Couiza. Montford’s Crusaders kill and plunder Cathars of Rhedae for King Philippe Auguste, take treasure to Montsegur. Lt Pierre de Voisins gets Rhedae.
-1211 -1250 Couiza Joyeuse Castle rebuilt by Voisins. He also received Rennes le Château.
-1240 Blanche of Castillés gathers her treasure as ransom for her son St Louis, held by French, but they kill him and she hides the treasure.
-1244 Cathars move their treasure from Montsegur, 80km west of Rennes, while Rennes lord Ramon d’Aniort negotiates their surrender to crusader Simon de Montford in mid March.
-1294 Arques corral built by some Voisins.
-1307 Suppressed Templars move to southern France, then part of Spain, and plan a kingdom there.
-1340 At Bezu south of the two Rennes, Catala and Palajan are arrested for minting counterfeit gold coins.
-1361 Plague epidemic.
-1362 Count Trastamarre destroys Rhédae.
-1362 Rennes castle destroyed by Catalan Routiers bands.
-1400 Voisins’s last daughter marries a lord of Marquefave.
-1422 A Voisin daughter, Blanche de Marquefave, marries PR De Hautpoul, who gains Rennes castle.
-1500 s Rennes castle rebuilt by Hautpouls.
-1524 Couiza’s Jean de Joyeuse marries the last Voisin, Francoise. He becomes governor of Narbonne and Lt-Gen of Languedoc.
-1540 -1562 Couiza’s Joyeuse castle rebuilt by architect Nicholas Bachelier, trapezium plan.
-1561 Couiza’s Guillaume de Joyeuse3, Bishop of Alet les Bains, a Franciscan, yet Marshall of France.
-1570s Annual expeditions against Huguenot Protestants in Languedoc and Auvergne. Locals divided in loyalty.
-1577 Couiza and Joyeuse Castle pillaged by Protestants of Alet les Bains, probably asking ransom for the vicountess and children.
-1580 c Couiza’s Duke Anne Joyeuse employs Poussin’s father, uncle of baron Arques, as financial advisor (notes Patton).
-1581 Couiza’s Duke Anne made governor of Mt St Michel; Grand Admiral of France; an Order St Esprit Commander or chamberlain, aged only 21; marries the king’s sister in law, Marguerite, gets Limours south-west of Paris; soon Governor of Normandy; Governor of Le Havre 1584; and with his brothers, duchies of Anjou and Alençon.
-1587 Couiza’s Duke Anne kills 800 Huguenots in Poitou, St Eloi Massacre on midsummer, 21 June. But Henry of Navarre defeats him, takes him prisoner near Bordeaux. He offers a large ransom but is executed.
-1592 Couiza suffers plague.
-1649 Couiza bought by Archbishop of Narbonne, Claude de Réhé, who invests in villages.
-1659 Rousillon (former Habsburg Catalan territory) and Artois are annexed to France by the Pyrenees Treaty, ending centuries of war with Austria and Spain.
-1661 Hautpol sues Alet’s Bishop Pavillion, to stop royal troops searching his caves and mines.
-1678 King Louis14 sends treasurer Colbert to form Balnchefort Mining Company on Hautpol land.
-1680 Baron Henri Hautpoul reclaims the title Lord Blanchefort.
-1694 A noble is buried in Rennes church.
-1705 Dame Anne Delsol, sister in law of H Hautpoul, is buried in Rennes church.
-1724 Henri de Vernet is buried in Rennes church .
-1740 Rennes church removated, noble tombs or crypt sealed.
-1762 The last Blanchefort dieds, leaving his wife Marie (born Negri D’Ables).
-1781 Marie Negri Ables Hautpoul Blanchefort dies in Rennes castle.
-1792 French Revolution starts. Local priests flee to Spain. Couiza’s Castle Joyeuse is a hospital for troops of Gen Dagobert (not the Austrasian king).
-1797 Elisabeth Hautpol gives Rennes castle to two servants, and lives in a single room.
-1800 c Roussillon province made part of Languedoc-Roussillon.
-1816 Elisabeth Hautpol sells Rennes castle to her farmer’s daughter, Julie Avignon, who later sells it to Dalbies brothers.
-1825 Quake increases salt in Sals river from under Bugarach Mt.
-1832 Labouisse-Rochefort publishes Travels at Rennes les Bains, comparing the landscape to Greek proverbial Arcadia.
-1846 Salette vision of Mary or Magdalene saying ‘Penitence’, by Melanie Calvet, near Grenoble. Sauniere later elaborates the vision into a ‘prophecy’ for royalist and perhaps German causes.
-1855 -1913 Couiza’s St John Baptist church rebuilt.
-1885 Sauniere assigned to Rennes le Chateau. He is soon banished to Narbonne for anti-republican preaching before an election.
-1886 Sauniere returns to Rennes in July, from political banishment in Narbonne.
-1886 Boudet, priest at Bains, distributes his book of puns and riddles, ‘True Celtic Langauge and the stone circle’.
-1887 Rennes church altar restoration, paid for by a former resident, Madame C of Coursan. Sauniere found some items already (not only later in 1891). He also replaces the stained glass windows, ordered from H Feur of Bordeax.
-1888 Sauniere lifts the Knight’s Stone.
-1888, 1889, 1890 Archduke Johann von Habsburg visits Rennes. Emperor Franz-Josef disowned him. On one visit he is reported as missing in newspapers. He named himself Orth, married a ballerina, sailed to South America, disappeared off Cape Horn in 1890, but may have gone to Norway (1975 Archduke Rudolf visited Rennes).
-1890 Sauniere lives with the Denarnaud family, newcomers from 9 Esperanza, during presbytery and church renovations. Soon the mother becomes his housekeeper, then the dauther, Marie, aged about 22.
-1891 Rennes children carry a statue of a Lourdes Lady through the village on midsummer in June, ‘Mission 1891’ (see church 15). Some months later, Sauniere notes discovery of a‘tomb’, perhaps in the graveyard. His discoveries in the church may have started in 1887. He postpones renovation, visits Carcasonne and Luc sur Aude, meets four or five other priests, then hires new builders.
-1892 Sauniere stops diray entries on April 12, or starts a secret diary. He later said dontations had come via his brother Alfred.
-1892 onward, Sauniere visits Perpignan by train several times.
-1895 Sauniere digs in the cemetery, and builds an ossuary for bones (see Domain 15).
-1897 Rennes church renovation blessed by the bishop in early June.
-1897 Murder of Coustaussa priest Gelis, 31 October, aged 70. Judge Raymond Jean finds a scrall spelling ‘Viva angélina’, perhaps ‘Long live the lineage of angels, or Angelic Society; and caches of money in several places, and recent investments.
-1898 Sauniere buys land in the village for his domain, in Marie’s name. He has accounts in Paris, Toulouse and Perpignan.
-1902 Saunierie goes blind in one eye, receives a glass eye.
-1904 Sauniere’s brother Alfred, alcoholic, dismissed, ill, returns to Montazels with a housekeeper.
-1905 Historians visit Rennes, copy the gravestone of Marie de Negre.
-1905 Church and state split in France.
-1905 Sauniere’s brother Alfred dies in Montazels in Sept. He blames family members for ‘reprehensible conduct’.
-1907 Sauniere rents the presbytery from the church.
-1910 Sauniere dismissed anbd replaced from 1 June, but stays in his presbytery and domain.
-1917 Sauniere dies in January.
-1944 Spanish Resistance members shelter in Rennes presbytery. Later owner Corbu and a dowser found three clothed bodies buried in the grounds in 1956.
-1946 Rennes castle bought by Marius Fatin. In the 2000s his son Henri, a wood sculptor, lived here.
-1950 A Cathar descendant visits Rennes on a Montsegur pilgrimage.
-1956 Domain owner Corbu and a dowser finds three clothed bodies buried in the grounds, probably 1944 Spanish Resistance members.
-1960s Plantard, De Sede, Chaumeil, De Chérisey (a radio prankster living near St Sulpice), and Lincoln (born Soskin, an actor with the motto ‘don’t believe a word’), elaborate genealogies, parchments, epitaphs, the Red Serpent pamphlet and poem, engravings, a religious order, and events, to prank a claim to the defunct throne of France (see Coume Sourde hoaxes). Some artists see pranks as a kind of theatre.
-1968 and 1972 Plantard buys some land at Blanchefort and Black Rock (see Bains 13).
-1970s ‘Holy Blood’ and other books extend the Plantard hoax into a Christian romance cult, in the mould of Arthurian romances. The Christian ‘sequel’ myth was debunked by Charroux, Cholet, and Descadeillas and others (Dietrich 2018), but it remains a popular cult.
-1975 Archduke Rudolph of Habsburg, descendant of the last Austro-Hungarian Emperor, visits Abbe Mazieres in retirement, and visits Rennes (Smith 2018). (See 1888 -1890 his ancestor visited Rennes).
-1978 Plantard re-publishes Boudet’s book of puns, ‘True Celtic language’
-1984 6 Casteillas owner Philippe Schrauben sold the site to re-publish Boudet again, with a preface; ‘True Celtic Language, and of Merovingians of Rennes le Chateau, myths and realities; response to Plantard, Lincoln, Vazart and company.’
-2000s Rennes becomes a conspiracy theory theme park. Novelist Ben Hammot fakes a small chest with ‘parchments’ (see Rennes 6 Magdalene cave), part of a new wave of hoaxes.
-2001 Radar scans by a Dead Sea Scrolls specialist Eienman and a Canadian team, funded by the Merrill Foundation, find an anomaly under Magdala Tower that turns out to be a large natural stone. Scans confirm the church has a crypt, but authorities uphold the 1965 prohibiton on excavation.
-2010s Some Rennes researchers criticise the Plantard cult and gullible readers, and delve deeper into the real historic mysteries.
-2018 Structuralist anthropology analysis reveals the standard range of archetypal features in Bains and Rennes landscapes; and in the presbytery domain, the church plan, and the Sermon mural. Some of Boudet’s inspired guesswork is aprt of the Bains stoneprint. Most of the fake layers of conscious ‘correspondences’ added by the Prior of Sion, Red Serpent poem, and others, merely scramble the subconscious natural and cultural collusion. The real enigma is our capacity for individual and collective subconscious behaviour, including predictable recurrent features. The Rennes double imprint confirms earlier findings in 50 other sites worldwide, including the Avebury landscape (see Stonerpint Journal 2). One of the five layers of archetypal structure is an irregular axial grid between specific features in ragged oval spacing.
Some Rennes le Chateau references
Brouillard, G 2009 Discovering the keystone, Red Serpent. Griffel
Dietrich, A 2018 Renneslechateau.nl
Furter, E 2014 Mindprint, the subconscious art code. Lulu.com
Furter, E 2015 Gobekli Tepe, between rock art and art. Anati, E. Atelier Etno
Furter, E 2016 Stoneprint, the human code in art, buildings and cities. 4EqMed
Furter, E 2017 Recurrent characters in rock art. Expression16. Atelier Etno
Parliament Square lies on London’s axis 5a Priest B. Among the archetypal features of type 5, are ‘assembly’, ‘varicoloured’, and ‘world’. Eleven statues of democratic leaders, form two thirds of a small-scaled but dense stoneprint cycle here, probably awaiting five more iconic characters (on the blank axial lines in the map).
The general theme in this square includes type 5b Priest (state and religion share many hallmarks, as social anthropology recognises). All five layers of structural expression are subconscious to artists, architects, builders and members of any culture. There was no master plan for placing these statues in advance. Events, inspiration and compromises conspire to express structural ‘grammar’ in artworks and building sites.
Students and lovers of art and rock art should order it with the book Mindprint (264 pages, 200 illustrations, about $29).
Type label; Statue (archetypal features):
1 Builder; George Canning, with scroll (book). Prime Minister 1827 for 119 days, died in office. Moved here from New Palace Yard (just east of the square) in 1832, first statue in Parliament Square 1867, position moved 1949.
2 Builder; Edward Smith-Stanley, PM thrice, chancellor of Oxford University, with scroll (book).
2c Basket; Abraham Lincoln, USA president, who abolished slavery, and was assassinated in a plot (secret).
3 Queen; Benjamin Disraeli, as earl. PM 1874. Jewish born Anglican.
4 King; Mahatma Gandhi, Indian PM. He often sat on the floor (squatting), as some other statues model him. He may express type 4p (limb joints) instead.
4p Galactic South Pole; Gandhi? Closer to the centre (polar), low plinth (juncture), bare lower legs (limb-joints).
5a Priest; Robert Peel, PM 1834 and 1841.
5b Priest; Nelson Mandela, first democratic (assembly) South African president, black with some Khoe genes (varicoloured), who wore varicoloured shirts.
5c Basket Tail; Underground rail (container).
6 Exile; >? [Walpole? Theresa May? scapegoat?]
7 Child; >?
8 Healer; >?
9 Healer; >?
9c Basket Lid; Underground rail (container).
10 Teacher; >?
11 Womb; >? Margaret Thatcher (womb, law) was planned, but set for Middlesex Guildhall Supreme Court, west of the square. Suffragette Millicent Fawcett (womb) was also planned, but not sited.
12 Heart; Winston Churchill, PM in WW2 (death, war, bastion, weapon).
13 Heart; David Lloyd George, PM in WW1 (war) 1916, ordered bombings in the Middle East and India (weapon). Welsh (felid), noted for a “leonine head”. The name David is of a lion (felid) tribe.
14 Mixer; Jan Smuts, South African PM in WW2, near the axial centre (ingress).
13c Basket Head; Garden before the Treasury (container). And underground rail (container).
15 Maker; Henry John Temple, Lord Palmerston, PM twice, 1859. First PM of the Liberal Party (re-creator), holding cloak (bag).
Midsummer and midwinter; perhaps north-south of the centre, placing midsummer between axes analogous to Leo-Cancer; thus spring and the cultural time-frame in Age Taurus-Aries. The time-frame is before the work as usual, at the perceived time of formation of the current culture.
London authorities have announced that they do not plan to erect any further statues in Parliament Square, for being “crowded” with statues, but the incomplete cycle is likely to attract completion. A statue of Margaret Thatcher was planned for the adjacent Supreme Court at Middlesex Guidhall (from where George Canning and Abraham Lincoln express their parts in the Parliament Square cycle). Completion may take a century or two.
Or order the book Stoneprint (2016, R250 /$/E30 plus postage), or Mindprint (2014, also on Lulu.com); or journal editions including some full colour pages; or slide show talks; or to contribute articles, email edmondfurter at gmail dot com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4
The main archetypal sites in London are: 1 Tower; 2 Southwark Cathedral; 2B New City Court; 2c Finch’s Grotto; 3 South Bank University; 3B Elephant & Castle north; 3BB Elephant &Castle south; 3BBB St George’s Cathedral; 4 War Museum; 4B Chandler’s Hall; 4BB Archbishop’s Park; 4BBB Lambton Palace; 4p Former County Hall;5a Parliament; 5aB Westminster Abbey east; 5aBB Parliament Square; 5b Westminster Cathedral; 5bB Passport Office; 6 Wellington Barracks; 7 Buckingham Palace; 7B Horse Guards Parade; 7g St James’ Palace, and Green Park; 8 Duke of York’s column; 8B Admiralty Arch; 9 Nelson’s Column; 9B Mankind Museum; 9c Palladium; 10 St Paul (church); 10B British Library; 10BB British Museum west, and Royal Opera east; 10BBB British Museum east, and St George Bloomsbury; 11 Freemason’s Hall; 11B John Soane Museum; 11BB Lincoln Inn Hall, and St Clement Danes; 11BBB Royal Courts of Justice; 11p Temple Church; 12 Smithfield Market; 12B St Bartholomew, and St Bride; 12BB Barbican; 13 London Museum; 13B St Paul’s Cathedral; 14 St Mary le Bow; 15 Financial Centre, and Stock Exchange; 15B Synagogue, ‘Gherkin’, and St Mary Woolnoth; 15g Great Fire Monument, and Tower Gateway.
Each axis has several more features, listed with a large map and some site photographs in Stoneprint Journal 4, print edition, available worldwide from Lulu.com (24 pages, $18). Students of art and rock art should order it with the book Mindprint (264 pages, 200 illustrations, about $29).
Below are some extracts from the list, and from an article on archetypes and their systematic labelling.
The stoneprint tour of London
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.
Taurean towers on London Bridge
Combine the tour sites on axes 1 and 1B, outward.
1 Builder; London Bridge. A Roman wooden pier was found nearby. The Norse saga Heimskringla boats that Olaf2 (sacker) ruined the bridge against Cnut (builder) in 1014. The Fish Str version of 1209 carried houses (cluster), like swallow nests (see Swift People in rock art. Mindprint p108-109). Executed heads were displayed on pikes. The nursery rhyme ‘London bridge is falling down’ expresses type 1:16 Builder decan Auriga, in the galaxy (tower or bridge, unstable. See Tarot trump 16, Tower or lighthouse struck by lightning). Adjacent type 15g Gate is often a bridge (see alchemical emblems and verses, such as Basil Valentine).
The rhyme is about tolls, corruption and fate. Five of the nineteen arches collapsed in the reign of Henry3, 1282, after he gave toll money of 1269-1281 to Queen Eleanor of Provence, ‘my fair lady’ in the song. London took back bridge tolling and formed Bridge House Estates, building road arches, at right angles to water arches below. This ‘bobbing and weaving’ (twisting) pattern may have prompted the local version of the archetypal game, also known in Paris in the 1400s. The Thames tributary river Lea, at Stoneleigh Park, Warwickshire, has a human sacrifice burial, another model for the universal game of catching a player under an arch of arms at the last word of a rhyme. Some houses burned in 1633. All were removed in the 1700s, perhaps prompting the ‘falling down’ lyric, as in Tommy Thumb’s Pretty Song Book of 1744. The bridge moved (sacking) upriver in 1763-1831 to King William /Gracechurch Str, boosting new development (building). This version was moved brick by brick to Lake Havasu City, Arizona by a developer (sack and build) in 1971. Germany had a similar rhyme of Magdeburger Bridge (Mighty Fortress, as Hebrew Migdal, tower or podium). Protestant Magdeburg was sacked in a Thirty Years’ War massacre in 1631. Many rhymes have religious undertones.
1 Builder; Old Billingsgate Market (legendary tower. Site of Great Fire (sacker). See Great Fire Monument and Belin, on the pack page).
1 Builder; Tower of London, at Legge’s Mount, and Tower Gardens (see p1 and p3. The Tower has three stoneprints of its own, a subconscious maze). A port, fort, prison (cluster), passage (cave, as at Wakefield Tower), bastion (tower. See Tarot trump 16, Tower. Type 1 Builder /Sacker decan Orion’s higher magnitude is 16 Auriga, including the galactic ‘river’). Its chapel is of St John, bull (bovid) among the evangelists. While Greenwich Observatory was being built, science ‘cabal’ members Moore, Halley, Streete and Hooke met in Flamsteed’s temporary observatory in the White Tower’s Bell Tower turret to observe a lunar eclipse on 1 January 1675, using Hooke’s spring watch and Flamsteed’s almanac and telescopes (instruments. See trump 1, Juggler with instruments on a table. See trump 1:16, Tower with two angels and instruments in the air).
Arian St George and dragon
3BBB Queen; St George’s Cathedral (decans Triangulum and Cetus tail, sacrifice and dragons). Catholic, Metropolitan (bishopric). Cross of murdered El Salvador bishop Romero (sacrifice) 2013. (Opposite 10BBB, St George Bloomsbury. Near 2c St George).
……etc types 3 to 15….
Geminian churns at the ‘Gherkin’
15B Maker; Synagogue, Bevis Marks Str. Sephardic, Spain and Portugal, 1701.
15B Maker; ‘Gherkin’ tower, Swiss re-insurers, spiral texture (churn), 2004. Former Baltic Exchange, 30 St Mary Axe Rd (formerly Threadneedle Str). Irish bomb 1992 (Baltic moved to nu28). Fitzwilliam House site was Sts Mary and Ursula (Bear, decan Ursa Minor), of Skinners Guild (bag, mace. See axes on their arms, and an Inn sign); levelled 1561, merged with St Andrew.
15B Maker; St Andrew, Undershaft, 1100s?; 1300s; 1532. Merged with 15-15B St Helen’s Bishopsgate. Andrew (his name means ‘Manly’) was Peter’s brother (doubled). Crucified on an X-cross (churn), as on Scotland’s flag.
15B London Stone stump (churn post), Cannon Str, on Coronation Procession. Was fixed with iron bars (chains, ropes). (Was at 15B-15g Watergate). Under Richard2, pretender Jack Cade struck his sword on it (mace). Its top was cut off and moved 15B-15g Cannon Str 111 in 1742. Moved to 13 London Museum 2016. A stone pagoda and podium (churn) remains here. Perhaps from entrance of governor (re-creator) Agricola, AD 80.
15g Gate; East Smithfield, former Knights’ Guild outside the wall. Thirteen knights asked the field from King Edgar, 960s, to combat “above ground, below ground, and in water (churn), and on a certain day (midsummer, sun in Gemini constellation) jostle in contest. The Book of Trinity notes they “threw spears” (surveyed borders) from Dodding Pond Str (pool) to the Thames; St Katherine Hospital; mills (churns, built later); the wall; and new Tower ditch (pool, order). Heirs were confirmed by Edward Confessor, and William Rufus. Henry1’s queen Matilda founded Holy Trinity (churn), Aldgate 1115. The Tower Constable kept his vineyard. Queen Matilda of Stephen founded 1 St Katherine Hospital 1148. Eleanor of Henry3, and Philippa of Edward3, bestowed parts. A Pentecost fair from 1229 (50 days after Easter, harvest in June, sun in Gemini-Taurus gate). Jews settled for protection by the Tower 1236 (but expelled 1290). Two Black Death cemeteries (1 pit) 1347-1351. Lord Chancellor’s ward from 1442, a kind of ‘DC’ (juncture). Monasteries were dissolved 1531, the hospital became Protestant, houses given to nobles. Property of type 1 Tower since 1686.
London’s polar triangles
The axial centre or ‘ecliptic pole’ is on Waterloo bridge south bank (juncture), between the National Film Theatre with a three-reel projector logo (polar trio); Queen Elizabeth Hall; Purcell Room; former rooftop Room for London 2012-2016 as the Congo riverboat of Joseph Conrad, and in his novel Heart of Darkness; and the National Movies Museum.
The ‘celestial pole’ had moved from the river bank (juncture) at Bernie Garden, to bear pits (decan Ursa); to a former power station; to the Oxo Tower; to the Jubilee Garden north; to Upper Ground Str at South Bank TV; to a junction near the Movies Museum.
The ‘celestial south pole’ had moved from the Thames inner bend (juncture), to the Royal Festival Hall (since the Festival of Britain of 1951); Queen Elizabeth Hall; and Purcell Room.
These markers placed London’s ‘summer’ in Cancer, then Gemini, then Taurus; thus ‘spring’ and the cultural time-frame in Ages Aries, recently Pisces, and now Aquarius (since 2016). Contemporary polar markers are typical of future-oriented sites. London is as timeless as Rome, but consciously transformative.
The mindprint model of archetypal characters as social functions, with their sequential, spatial and polar relationships (after Furter 2014, 2019).Order the London archetypal tour guide here: https://www.lulu.com/shop/view-cart.ep
Archetypes live in myths, months, saints, constellations, trumps, numbers and buildings
Petrarch’s poem cycle of seasonal ‘triumphs’ expressed archetypes in emblematic verses in 1340-1374. Various illustrators added drawings of popular calendric, mythical, astrological and stereotypical characters in procession. These books were probably models for the 22 Tarot ‘trumps’. Their archetypal meanings were identified in a list of recurrent features in artworks (Mindprint, 2014) and building sites (Stoneprint, 2016). Similar characters appear in rituals and pantheons, as angels, saints or legends. Artists and builders always express them in their fixed sequence, and with their eyes or focal features on an axial grid. Among the best known sets of emblems are heraldry (see Stoneprint Journal 1; Pictish beasts) and various card decks of courts, vocations, ‘chaps’ or constellations. Stoneprint labels could use any of these sets. For ease of sorting and listing, labels used in images and text start with typological numbers, identical to the Tarot trump sequence based on Petrarch (Moakley 1956). There were variant totals and sequences of ‘triumphs’ and trumps, from which the Marseilles deck, in its Milan variant, became popular in the 1300s. Golden Dawn founder SL Mathers and his wife Moina drafted a Cabalistic version in England in the 1700s. Mathers swopped two numbers to fit his system of correspondences; 11 Strength and 8 Justice of Milan, became 8 Strength and 11 Justice in England. His deck was copied by AE Waite and Pamela Smith, published by Rider in 1910. The Rider-Waite deck became popular due to adding pictures to the court and suite cards. Resolution of seasonal and astrological correspondences with the trumps (Furter 2014) demonstrated that Mathers’s swop was a subconscious correction to an error in the Milan variant.
STONEPRINT Journal series
This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities. Use this link to order the London guide from Lulu.com: https://www.lulu.com/shop/view-cart.ep
Or order the book Stoneprint (2016), or Mindprint (2014), or Stoneprint Journal editions including some full colour pages; or slide show talks; or to contribute articles, email edmondfurter at gmail dot com. or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4
Social groups always re-express a specific structure in every complex building site, including villages, temple fields, campuses and cities. Known elements of the archetypal structure of culture include some of their characteristic features; their peripheral sequence; and spacing of communal buildings as pairs of opposites, with their focal points on an axial grid with one centre point. We maintain this invisible structure even on sites built and re-built over centuries (Furter 2016). Individual artists do the same in complex artworks, subconsciously using the attributes, sequence, and spacing of the eyes of characters in their artworks (Furter 2014, and Stoneprint Journal 1 2017). Nature does the same in particles, elements, DNA, species, and in the reflexology of our irises, palms, teeth and organs (see inside).
Paris is a particularly dense example of the universal compulsive structure. The city of light re-expresses the same archetypal structure already demonstrated in fifty building sites, including Gobekli Tepe Ice Age village, Babylon, Sakkara, Giza, Kings valley, Queens valley, Meroe pyramid clusters, Nabta Playa, Jerusalem, Masada, Nemrut hill, Axum, Lalibela, Silbury area (see Stoneprint Journal 2), Magdalenburg mound, Great Zimbabwe, Sanchi, Kathmandu square, Beijing Temple of Heaven park, Horyuji, Todai, Himeji, Izapa, La Venta, Monte Alban, Coba, Uxmal, Chichen Itza, Teotihuacan, El Tajin, Palenque, Machu Picchu, Tiahuanaco, Nazca geoglyphs, Crow Canyon kiva village, Rome, the Forums, Ephesus, Brescia, Piacenza (see below), Santiago de Compostella, Cape Town and Quebec.
Furter, ED. 2017. Stoneprint Journal 3. December. Four Equators Media, Johannesburg. Sixteen pages A4, four in colour. $6 plus postage. Order from Edmondfurter at gmail dot com, or via the Comment function on this blog. An extract will be added to the second edition of Stoneprint.
Buildings are durable copies of eternity
Buildings are apparently the most concrete, yet spatially the most abstract of physical media. They divide contesting voids, requiring our minds to hold functional maps. Even in plan view, their spatial structure is more difficult to visualise than a complex artwork. Buildings, camps and cities serve many functions, including protection, exploitation, and as canvases for ritual and abstract protection. Thus buildings are also talismans to influence intangible forces. Imprints of social functions are also divining boards with moving characters and a limited set of optional events. Insurance companies understand events well enough to predict average numbers of events. Divination attempts to discover overdue influences.
As there is no perfect or complete magic ritual, so there is no perfect or complete building, artwork, myth, pantheon or culture. Cities involve several media (see Babylonian temple building materials, trade, rituals, religious, state and economic functions in Stoneprint Early Civilisations chapter). The Bible also notes a list of different crafts required for the temple, with tutelary angels who inspire the relevant skills: “Bezaleel was appointed to make artefacts for the tabernacle. God had filled him with all manner of workmanship.” (Exodus 31:2). Building specialisation, as in the Lanjia Saora tribe in rural India (Dash 2016), requires social structure and a calendar, a social clockwork that synchronises more than work shifts. The USA constitution requires social institutions to enable “the pursuit of happiness”. King Ur Nanshe, King Gudea and their people found the same rewards in their strenuous and expensive building projects, including “separating heaven and earth”, or resolving concepts.
The difference between characters on a rock face, pavement, engraving, paper or canvas; and building members on a site or landscape, is primarily a difference in scale. Art is individual work, and building is social work. Both are enabled by abstract shapes (Dieter 2016) and recognition of analogy. Cities express cultural structure by our collective eye-hand-mind co-ordination. Hints of our ability to subconsciously “act as one” (as King Gudea’s people did on his building site), are also visible in collaborative or cumulative artworks. Like ants, we are capable of instinctive collaboration, but unaware of most of the design parameters of collaboration.
All cities re-express the eternal building code
Our huts, houses, kivas, circles, pillars, fortune bowls, art, game boards, temples, pyramids, cities, constellations, geoglyphs and graves, say much more about us that we ever knew. Structuralist analysis reveals universal repertoire in our subconscious behaviour. The structure also says more about culture and nature than we ever knew, but had glimpsed in nature.
We imprint a natural, abstract structure of five layers, including sixteen characters in sequence, on an axial grid, in all our complex artefacts. The same structure appears in the periodic table, and in reflexology points in our hands, eyes, teeth and ears. A similar structure informs bio-chemistry and DNA. The archetypal expression in our works, or the cultural record, is now readable. Its subconscious elements carry significant implications for the human sciences of art history, archaeology, anthropology, philosophy, psychology, sociology and communication science. The formerly ‘invisible’ layers of our perception and expression, or natural code, now offer the opportunity to integrate the conscious and subconscious halves of crafts, sciences, and culture.
Our works re-express nature, and our place in it. The core content of any old or new culture is now revealed to be as predictable as chemistry, as readable as the periodic table, as translatable as language, as visible as art, as varied as mythology, and as recyclable as building material.
Architects, engineers and builders are not aware of the visual grammar that they could not see, but could never contradict. Archetypal structure and culture existed before we did, and before the universe, and will outlive the cycles of its expression in art and cities intact.
Whether we are few, as when we built the houses illustrated in the Ice Age chapter; or many, as when we built the pyramid fields and cities illustrated in the historic chapters; we express the core content of culture in all our media, with as much apparent variety as possible. But stylistic differences fade when the core content of culture is revealed. We all build, draw, talk, trade, count, strategise, pray and fight the same. Stoneprint lifts the ‘beam’ of self-deception from our cities, and from our supposedly scientific eyes. We will continue designing art and buildings by intuition, but we could never see or study our works with half our brains again.
Cosmology is a canvas of natural and cultural structure
Cosmology inevitably combines properties of nature, of innate perception (which is also a reflection of nature), and experience (within natural and cultural contexts). The best canvas for cosmology is a sphere, such as the sky, containing three equators and three sets of polar axles (thus six polar points); and random dots to mark space; and moving luminaries to calibrate time. Our inherent compulsion for seeing wholes among potential parts, or gestalt, invite us to imprint species, functions, myths, rituals and conceptual correspondences on the sky, as it does in art, myth, ritual, and buildings.
Most of the 28-odd near-ecliptic constellations (in and next to the zodiac), do not have their eyes on a grid of opposites centred at any pole, as they do in art and architecture. The sky is therefore not a stoneprint, but a good canvas for natural and cultural categories, such as species, characters and concepts. Constellation figures are strong in typology and in sequence, due to their mythic labels. Their outlines are abstract and highly optional, as archetypes are. Constellations are also strong on cosmology, thanks to the three equators and sets of poles. Instead of an axial grid between characters, cosmology has a strong grid of division lines between characters. Every section is a homogenous field or ‘sign’, enabling movement with precession of the celestial poles, as a kind of moving clock face (as used in astrology). However nature, artworks and buildings remain fixed on the ecliptic grid, while allowing only two limb joints or junctures near the centre to express the approximate precessional Age (usually the Age preceding the work).
The sequence of archetypal concepts in Western constellations is (noting known archetypal attributes in brackets):
7g Galactic Centre; River (water) 8 as Scorpius tail (long tail); Ophiuchus giant (large, strength feat)
9 Healer; Scorpius head with claws (strength feat); Hercules who briefly carried earth (bent forward, pillar)
9c BasketLid; Lupus, Wolf (canid) or Centaurus legs; Serpens
10 Teacher; Libra, figured by Bootes over Virgo; Corona arm (arms in V/W posture, or wheel); Serpens Caput (Head) or snake on staff (staff)
11 Womb; Virgo; star Spica (Wheat) as her womb (womb); under Bootes
11p Galactic Pole; Coma (Hair), L-shaped (limb joint)
12 Heart; Leo retro (feline, inversion); Crater (Grail); Hydra (waterwork)
13 Heart; Leo (feline); star Regulus on his heart (heart); Ursa (Bear) as sword or scythe (weapon)
13c BasketHead; Leo Minor, or Leo forepaws? (attributes not yet isolated)
14 Mixer; Cancer, Y-shaped (sometimes a tree); Ursa Minor between two poles (ingress /egress); Lynx (sometimes a small canine or feline); Hydra head
15 Maker; Gemini (doubled), standing on the galactic gate (churn), holding Ursa’s head (rope); Canis; Canis Minor (canid), mace shape (smiting, sceptre); Lynx and Ursa Minor shared with 14 (bag)
15g Galactic Gate; Gemini foot (path), star Tejat; at Orion’s rear hand or club; at Auriga’s rear foot (path).
The ecliptic pole or axial centre is unmarked as usual in all media. The celestial poles slowly move. The northern celestial pole is currently at Ursa Minor’s hoof (limb joint). The southern celestial south pole is currently on a Dorado (Goldfish) fin (limb joint). Celestial poles cause summer and winter, always 90 degrees ahead of spring and autumn, as they move in tandem.
No culture ever consciously knew the extent of the archetypal structure that enables and sustains cultural expression in all their media, from myth to buildings and constellations. These sets do not arise from one another. They sometimes swop out some features, sustaining the common view that myth illustrates ‘the sky’. Stoneprint demonstrates that there is an invisible common cause to all media.
The abstract chart of archetypes
Natural manifestation seems to start in galactic planes, as it does in the universe. Either table, or both, could manifest in left- or right-handed versions. Space-time and energy-matter are also ‘emergent’. Culture is equally ‘emergent’, since every expression is original, despite its apparently ‘cumulative and developmental’ stylistic context. When crossing the gaps between stable isotopes of matter, particles shed or absorb light of predictable wavelengths. Likewise, visual archetypes transform by shedding and adopting traits, such as postures, functions, tools, or species; predicted by the stoneprint list, its sequence, its frequencies of probability, its spacing as pairs of opposites, and its tri-polar features. Our conscious minds rebel against the implications of quanta, and the thought that constants have internal structure (Connell 2017). Likewise there is no apparent cause for the pervasive structure in cultural media; or for close structural correspondences between media; or for cultural modelling on invisible natural structure. Our conscious mind rebels against its exclusion from what now emerges as a wide range of subconscious behaviour.
Five layers of cultural structure
Every complex artwork, artefact, building site, geoglyph, pyramid field, or city, expresses five inter-related levels of subconscious structure (A to E):
(A) Types. Characters, rooms or buildings, express sixteen types, each with a small set of specific optional attributes. Some works combine eight of the types into four, thus express only twelve. Most characters express only one of their typological attributes in a work. Some attributes appear at known average frequencies. More attributes of each type may be discovered.
(B) Sequence. The types are near the edge of the work, intervened by four borderline types (c), and two polar points (p), and two galactic points (g):
Types 1 /2 and 8/9, or 5a/5b and 12/13 may each be single or double.
The two galactic poles, 4p and 11p (or pG and pGs), are usually on limb joints or junctures.
(C) Axial grid of eyes or focal points, are formed by pairs of opposites (v):
1v8 2v9 3v10 4v11 4p,v11p, 5a,v12 5b,v13 6v14 7v15 (v for versus).
Type 11 has her womb on the grid. Type 12/13 has his heart on the grid.
The four cista (c) borderline types often lack axial opposites. The grid resembles the mill, or ‘many-coloured cover’ of Icelandic myth.
(D) Six polar points are often on limb joints, each at fixed frequencies.
The two galactic poles, 4p and 11p, are near the ‘equator’ of types.
The two ecliptic poles are on the axial centre, appearing as one point, pE.
The two celestial poles, pC and pCs, are near the centre, often on limb joints.
(E) Horizontal or vertical orientation of the work (east or north in buildings), is often parallel to either the celestial or galactic polar axle.
The celestial polar axle indicates the solstice positions of the Age of the culture or the inspiration, usually the Age prior to the work. Ages are named after the spring equinox position (90 degrees before the solstice). Artefacts express either Age Gemini, Taurus1, Taurus2, Aries, Pisces, or a transition between two of these.
Each of the five layers adds meaning, and removes ambiguity; like diction, syntax, tenses, genders and context add meaning in language.
Sixteen archetypes, in sequence
Characters or focal points in every complex artwork, building site or city, containing more than eleven figures, express a minimum of twelve, usually sixteen, sometimes up to 22 archetypes, in the standard sequence. Types are expressed by public features with a mixture of functional, symbolic and historic meanings, notably religious, monumental, commemorative and iconographic features. Railway stations do not seem to form part of the structure. The known optional features of the types, some with known average frequencies, include the four borderline types (c), and the two galactic polar points (p), and the two galactic gates (g).
Type label; features with average frequencies (used in early analyses; to be updated by 2019 data):
15 Maker; rope 30%, order 25%, bag 10%, face 10%, doubled 10%, pool 8%, canine 8%, create, churn, sceptre, mace, rampant,
15g Galactic Gate; gate 20%, river 6%,,,
The axial grid of opposite pairs
There is only one possible way to connect the maximum number of eyes of characters, on an artwork or map, by an axial grid (or two adjacent grids where there are more than about 25 characters, as on several Mexican building sites).
Placing sixteen eyes, doors, spires, statues or tombs on an axial grid, as pairs of opposites, is less difficult than it may seem at first. The artist or architect could place the first four eyes or buildings according to practical considerations of the canvas, or site, ideally in a more or less X shape. The two invisible axes between them may cross anywhere, ideally near the middle of the canvas or site. The fifth character or building could also be almost anywhere, thus –X shaped. Only from the sixth character or building onward, thus –X– shaped, every eye or defining feature has to find an opposite, with the axis between them crossing over the point established by the first two axes. Some works may start with up to eight characters, without any axial opposites; and find their opposites from the ninth character onward.
Sixteen axial points, on eight axes, require precise eye-hand-mind co-ordination, or surveyor-architect co-ordination, in placing characters sixth to sixteenth; a total of eleven feats (or more on complex sites such as Paris). The axial grid also confirms the peripheral sequence. Builders could place a type 1 /2 opposite any type other than 8/9 (twelve possible contradictions), or a type 3 opposite any type other than 10 (fourteen possible contradictions), and so on with types 4-11, 5a-12, 5b-13, 6-14 and 7-15 (another 52 possible contradictions). There are 78 chances for contradiction, against only eight chances to express the standard set of sequential opposites on an axial grid. A shift in the position of two or three eyes, could erase the sequence and the structure, but almost never does so.
A testable definition of stoneprint
The definition of stoneprint is a testable series of conditional or inter-dependent claims about cultural artefacts, offering an over-determined result:
“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 about 60% of the characters express one or more of their known optional typological attributes;
AND some attributes have fixed frequencies in random samples above 100;
AND the characters are in the standard peripheral sequence;
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 axle is on the implied solstice axis of the precessional Age or Age transition, of the relevant culture, usually prior to the work.
One of the polar axles may be parallel to the ground-line or vertical of the artwork, or cardinal direction of the site.
The implied spring point, a quarter of the cycle before the relative summer solstice, may be marked by a feature linked to sacrifice or rejuvenation.
The conscious theme of the work may amplify one of the character types.”
The analysis test formula of ,,,,,[see later posts],,,, results in an average of 60%, with a sigma curve of 30%; the lower average at 50%; the higher average at 80%. Any score below 40% indicates analysis failure. Structuralist failure is less than 1% on average. Any score over 80% indicates cultural or conceptual bias to recognise attributes and themes that are not categorically visible, or repeated revisions of artefacts, such as cities.
The cumulative definition of stoneprint is statistically impossible to attribute to learning or conscious design. Our subconscious eye-hand-mind co-ordination is therefore structured, compulsive, but subconscious. Individual and social behaviour is more inspired, detailed, and abstract, than any craft or science had described.
Axial grids are not Morley’s or Napoleon’s angles
Axial grids are not inherent in any collection of about twelve to twenty items. Morley’s miracle (1899) applies only to the equilateral shape of an inner triangle, formed by the intersections of lines that trisect the corners of any irregular triangle into three equal parts. In axial grids, all adjacent angles are unequal.
Napoleon’s theorem applies only to some predictable properties of equilateral triangles, based on the edges of a triangle. Axial grids are not based on lines of equal length.
No property of axes, or eyes, or building focal points, requires pairs of eyes to be on any kind of grid.
Average leeway for each character reduces by half with every pair added (from about 180 degrees, down to about 22 degrees). Yet even at the least leeway, a change as small as one degree in the angular position of a focal point in a city, could leave two characters unaccounted for. The average chance for non-alignment is about 20:1.
Two galactic points, and six polar points
The two implied galactic gates, or cross-points of the galactic equator over the ecliptic, are listed among the types, since they are the primary ‘border’ points. They are listed in italic letters, to distinguish them from the types:
7g Galactic Centre; Vortex, or water
15g Gate; Path, or net, or grid, or churn group.
The two implied galactic poles are also listed among the types, since they are near the equator of types, and also act as border points. They are also listed in italic letters, to distinguish them from the types:
11p Galactic Pole; 81% marked, 68% limb-joint,
4p Galactic S.Pole; 65% marked, 50% limb-joint, [see later data]
The galactic south pole, when expressed, usually appears inside the ‘equator’ of types, indicating that our subconscious cosmology is like a transparent sphere, or ‘beach ball’, with the lower hemisphere under the top half (see images in the Astronomical section).
Celestial polar markers are near the ecliptic pole (axial centre), also both inside the structure, confirmed by frequencies of limb joints here. In analysis texts, the two celestial poles are listed last:
pC Celestial Pole, on the ‘summer’ axis; 60% marked, 50% limb-joint,
pCs Celestial South Pole, on the ‘winter’ axis; 55% marked, 37% limb-joint,
Studies of the visual effect named Subjective Visual Vertical, found that orientation of the head relative to gravity is constantly signalled from the otolith organs, above all by the utricles, to the central nervous system. Any linear acceleration displaces the otoconial mass, and thus shears the embedded sensory hair bundles against the otolith maculae. This results in a potential change in the sensory cell and in the afferent discharge rate of the cell. Thus a viewer could accurately estimate the Subjective Visual Vertical, unless if suffering from utricle dysfunction.
The polar time-frame
The position of the two celestial poles move with precession, and so do their markers in art and architecture (and probably in myth and ritual, however a categorical test of subconscious structure in texts has yet to be found).
For example, a few recent artworks and building sites have polar markers near the Taurus-Scorpius axis, thus summer; implying spring and the time-frame as Age Pisces-Aquarius, usually confirmed by a spring marker between Pisces and Aquarius (see Pablo Amaringo’s art in Mindprint).
In Age Pisces artworks or buildings, from about BC 80 to AD 2016, astronomical celestial polar markers were on or near the Gemini-Sagittarius solstice axis. However most works made in Age Pisces, express the configuration of the prior Age Pisces-Aries, or of Age Aries, with celestial poles on or near the Cancer-Capricornus solstice axis. Likewise, most works made in Age Aries, express the prior Age Taurus, with their celestial polar markers on the Leo-Aquarius solstice axis.
Most works made in Age Taurus, (which are rare due to decay and renovation), express the prior Age Gemini-Taurus, with their celestial polar markers on or near the Virgo-Pisces solstice axis.
Some Ice Age cave art, and some Gobekli Tepe kiva-type pillared houses, express an Age Gemini polar configuration (see the Ice Age chapter. See a discussion of precession and astronomical Ages, in the Astrology section below).
Poles and limb joints are angles
In art, some of the five polar points are on limb joints, such as a hip (or rump in animals), shoulder, knee, elbow, hand, foot, or jaw. Characters and postures essentially consist of limb joints, thus of angles. Artists habitually use limb joint angles to redirect the wandering eyes of viewers back to the conscious focal points of a design, but are not aware of the subconscious structural roles of some specific joints. The ‘galactic‘ equators in art and buildings lie along two interlinked ovals, sometimes partly along a row of joints, plants, ropes or paths. Some illustrations in this book mark these ovals by large curves, with the northern and southern halves both extended into two wholes. Their intersection appears to form a vesica piscis, or ‘fish’ section. Inspiration may arise from or via type 7g Galactic Centre.
In buildings, the polar points are on corners, T-junctions, or posts. This variation makes the polar points in architecture more uncertain than in art. ‘Joints’ abound in the built environment, as they do in art (thirteen limb joints per person or animal), yet there is often something notable about the ‘polar joints’ in art and in building sites or cities.
Natural maps in our limbs and works
Many versions of structural expression in nature and culture are in front of our eyes. Some natural and cultural types are synonymous, such as a heart and womb being directly pictured in art as a prominent chest and a womb. We build many of the elements of archetypal structure into architecture, in more or less abstract form in myth and ritual.
The sequence of archetypes in our left palm is (noting archetypal features in brackets):
1 Builder; Senses
2 Builder; Throat
2c Basket; Hands and forearms
3 Queen; Left brain arteries
4 King; Left eye
4p Galactic South Pole; Jaw (limb joint)
5a Priest; Right eye (varicoloured, hyperactive)
5b Priest; Left leg (large)
5c BasketTail; Feet
6 Exile; Right leg
7 Child; Skin (bag); and liver (bag)
7g Galactic Centre; Windpipe (bag); and on the ‘horizontal’ plane (juncture)
8 Healer; Kidney
9 Healer; Gall
9c BasketLid; Pancreas
10 Teacher; Appendix
11 Womb; Womb (womb)
11p Galactic Pole; Kidney
12 Heart; Bladder (water-work)
13 Heart; Heart (heart)
13c BasketHead; Chest?
14 Mixer; Left lung, near the centre (ingress)
15 Maker; Liver; and Lymph (rope?)
15g Gate; Left shoulder (limb-joint).
The ecliptic pole or axial centre is on the solar plexus (juncture). The celestial pole is on a heart muscle. The celestial south pole is on the throat. The horizontal plane places midsummer in Gemini-Taurus, thus spring and the time-frame in Age Pisces-Aquarius, our current Age. However time-frames may apply only to cultural expressions, and not to natural works. Priest (Aquarian) types on two of the fingers, seem to confirm the orientation of the stoneprint in our iris (below), where the Priest types are nearest one another, flanking the nose. This orientation is also confirmed by the stoneprint (or rather boneprint) in our mouths (see below).
Eyes are windows to organs and structure
The sequence and relative spacing of iris connections to other body organs offer a physical map to the looped arrangement of our vital organs and functions. The natural typology in our left iris is (noting archetypal attributes):
15g Gate; Equilibrium centre (juncture) or medulla.
The ecliptic pole or axial centre is in the pupil, but offset to the lower inner side, towards the body centre. The celestial poles may be on the horizontal plane, on the heart-throat axis, placing midsummer in Leo, thus spring and the archetypal human time-frame in Age Taurus, confirmed by the top central position of Taurus. However time-frames may apply only to cultural artefacts, not to natural expressions, where slow mutations may be inherent and thus timeless.
Our ‘boneprint’ in dental reflexology
Teeth, the only semi-exposed bone, are our most instinctive analogy for stone pillars or walls in a cave, hut, broch, kiva or village. A set of teeth is symmetrical on two planes, thus split into mirrored quarters, and used as two hemispheres.
Teeth are linked in myth to the calendar, and to monsters, like the dragon teeth that Cadmus sowed to sprout soldiers. The calendric analogy is to the growing moon, and to changes in the number of our teeth from temporary juvenile 10+10 =20 (as in the unbroken 20-day ‘month’ cycle in the Mayan calendar), to the adult 16+16 =32 (decanal hours, and approximate days in a solar month). The average age when our teeth erupt follow a ragged, bottom-top (B/T) sequence, with some skips or jumps, in these months; 8B, 9T, 11T, 13B, 16B, 16T, 19T, 20B, 27T, 29B. The average age when teeth shed and replace, also follows an interrupted sequence, in years 6.5, 7.5; 10, 10.5, 11. Eruption and replacement make a total of fifteen events, resulting in 16 teeth on each jaw. Our teeth also chart our organs, but in a more compact, replicated, and redundant form. Teeth are also parts of a limb joint, and mimic oblique equators.
Cities resemble teeth
Most buildings, towns and cities are divided into quarters, like teeth are. Each quarter is usually a functional unit. Our buildings and cities are clusters of mostly cuboid materials in interlocking planes, with their third dimension in the spacing between flat planes, allowing rooms, doors, streets, squares, and thus functionality. Likewise, molecules could be modelled as clusters, or a collection of energy tracks, where space is as functional as material. Electron ‘traffic’ in the outer orbital determines chemical reactivity, thus expressing their characters and enabling their compounds. Cells are usually modelled as spheres, but actually resemble hexagonal discs, as in mud, DNA bases, and collagen (Robert Temple 2003). Analogies, or inter-media translations, reveal some aspects of invisible potentiality, or structure itself. We have traced and used that structure in nature, using physics (expressed in quanta and laws), chemistry and biology. But we have been slow to codify the structure of culture, despite the efforts of structuralists such as Plato in logic, JG Frazer in myth, Jacobsen and Chomsky in language, Levi-Strauss in social behaviour, Freud and Jung in motivations, and Gombrich in art analysis. Stoneprint extends the periodic table of culture from art, to buildings and nature. It allows the study of structure itself, thus of archetype, which enables elements to manifest and co-exist in the range of natural expressions that we are intimate parts of, and wherein we express some minor wonders of the world, including wondrous buildings and cities.
Our buildings, temple complexes and cities could be read as ‘abstract’ two-dimensional maps of archetype, thus more simplistic than our intricate three-dimensional bodies. But maps are deceptively simple. Building sites express an interrupted symmetry that could be charted by a T-shape in a circle, like the ancient T-O or ((+)) world map convention. Our teeth form such a map. Jaws express cosmology in terms of space, and in practical functions of digestion they perform. Two half-equators of teeth form digitally calibrated ecliptic and celestial arcs, of variable obliquity to one another, much like the celestial rotation of about 23.4 degrees (formerly larger). Opened wider, our dental plates resemble the galactic obliquity of about 61 degrees.
The most direct bridge for reconciling or ‘tacking’ our teethprint with our eyeprint, handprint, earprint, mindprint and stoneprint, is our body map. There is some variation in reflexology allocations of body parts to teeth, due to near complete replication in every quarter. Yet some differences between the four quarters of our teeth, reveal the sequence of dominant reflexology points. The same applies to buildings and cities. Every quarter, or at least two halves, each have a gate, temple, well, and the rest of the usual features; yet there are clues to which teeth most directly link to the organs ascribed to them.
We should first attempt to find consensus between rival teeth reflexology charts; then between eye, hand, ear, and teeth reflexology.
Potential consensus between the adult dental reflexology charts of Kliegels, Pugh, Natural Matters, and Furian, invites allocation of stoneprint types, here clockwise to the observer, starting from the bottom incisors:
1 RT07 Incisor2+1; Kidney, Genitals; Mouth, Ears
2 LT09 Incisor1+2; Kidney; Genitals; Mouth, Ears
2c LT11 Canine; Liver; Eyes; Hips, Knees
3 LT12 +13 Premolar1+2; Intestine +Colon
4 LT14 Molar1; Spleen, Thyroid; Feet
4p LT15 Molar1; Stomach, Spleen
5a LT16 Molar3; Small Intestint, Nerves Central, Brain, Heart; Knee
5b LB17 Molar3; Small Intestine; Nerves Peripheral, Brain, Heart
5c LB18+19 Molar2+1; ?
6 LB20+21 Premolar2+1; Spleen, Stomach; Mouth
7 LB22 Canine; Liver
7g LB23 Incisor2; Bladder?
8 LB23 Incisor2+1; Bladder, Genitals
9 LB24 Incisor1+2; Bladder, Genitals
9c RB27 Canine; Liver, Genitals?, Gall
10 RB28+29 Premolar1+2; Pancreas, Liver, Stomach
11 RB30 Molar1; Valve? Veins?
11p Galactic Pole; RB31 Molar2; ?
12 RB32 Molar3; Heart, Small Intestine, Nerves Peripheral; Shoulder
13 RT01 Molar3; Heart, Small Intestine; Shoulder
13c RT02+03 Molar2+1; Pancreas, Stomach, Thyroid
14 RT04 Pemolar2+1; Lung, Intestine
15 RT06 Canine; Liver, Gall; Eyes.
Our last three teeth eruptions indicate part of a natural maturity cycle:
Type 7 Child and its opposite 15 Maker, erupt late, both doubled
Type 3 Queen and its opposite 10 Teacher erupt later, both doubled
Types 5a and 5b Priest, and their opposites 12 and 13 Heart, erupt last. The ‘wisdom’ teeth are analogous to the heart.
Cities express more half-types
Hard media, such as stone, wood and mortar, more often express the four Cista (Basket) borderline types, than soft media such as art, myth and ritual do. Some decanal figures in Egyptian calendric art also include borderline types.
Characters are patient
The regular sixteen character types are harder to spot on plans and maps than in art, where living creatures parade with identifiable names, postures, items, and functions. Types in buildings manifest more slowly than in art, usually from collaboration, and from compromises between functions, design, engineering, budget and other ‘teething’ problems. Some attributes could take many years to manifest, like cathedrals. Several layers of remodelling may obscure one another. Yet the result is always predictably structured.
Two body maps in our ears
Inner ear lobe reflexes offer yet another body and cosmology model for mapping attributes in peripheral sequence:
2c endocrine gland
3 adrenal gland
4p Galactic South Pole on lower jaw (limb joint)
5 mouth (hyperactive)
8 large intestine
13 heart (heart)
14 lung?; near the centre (ingress /egress)
15 brain stem (with a rope)
15g Gate at upper jaw.
The ecliptic pole or axial centre is at the esophagus (windpipe). If the celestial poles were on the horizontal plane, as in cultural media, they place our inner ear lobe’s summer in Leo, thus its spring and temporal framework in Age Taurus. However time-frames probably do not apply to organisms.
The outer ear lobe reflexology chart has yet another reflexology map of our internal organs (Cocoandcowe). The outer ear lobe reflexes also offer astoneprint model of limbs, instead of organs (in peripheral sequence):
1 lower jaw
2 left eye
2c forehead or inner ‘eye’
3 right eye
4 inner ears and nose
4p Galactic South Pole on lumbar or sacral spine
5b ankle and knee
6 toes, far from the centre (ingress /egress)
9 little finger
10 hand (staff)
11 abdomen (womb)
11p Galactic Pole on elbow (limb joint)
12 chest (heart)
15 shoulder (smiting)
15g Gate; Neck.
The ecliptic pole or axial centre is on the thoracic spine. The celestial pole is on the occiput. The celestial south pole is on the solar plexus, or nerves joint (limb joint). The horizontal plane confirms our ear lobe summer in Virgo-Leo, thus spring and the temporal framework in Age Gemini-Taurus, at the Gate. Time-frames probably apply only to cultural expressions, not to nature.
Reflexes include our body organs sequence
Organ reflex sequences in our palms, eyes, teeth and ears, reveal a doubled typology sequence in our bodies, as infinity curves or Moebus rings. DNA studies indicate that our bodies were formed by a combination of four primitive worms.
A ‘reality’ game on a Bulgarian liver pegboard
Divination tablets and game boards trade in stock questions and answers, for stock situations. A peg-board from Karazhalia village in Bulgaria, named Karanovo tablet, probably used markers for divination or ‘reality’ games. Tracing out the invisible axial grid reveals that one hole is misplaced. Typological identification reveals the reason: the hole expresses the eye of type 11 Womb, but the grid line is on her ‘womb’ as usual. The format resembles clay liver map tablets used in oracle systems since Sumerian times, up to the Roman era. Divination bridges the apparent contradictions between universal and local, general and specific, simple and complex, natural and cultural. The physical functions of culture include legitimising exploitation. The abstract functions include expressing and attempting to resolve apparent contradictions between our conscious and subconscious minds (Leach 1970, citing Levi-Strauss 1981).
Piacenza bronze liver OUTER edge gods (names after Morandi. Stoneprint labels and axial grid by ED Furter).
Piacenza bronze liver INNER fields gods (names after Morandi. Stoneprint labels and axial grids by ED Furter).
Two circles of gods on a liver model
Sixteen sections divide the outer rim of the Etruscan Piacenza bronze liver divination chart, and 22 fields divide the interior, which includes some polar features. These two axial grids are secure, but the identities remain uncertain, probably scrambled by political customisation. However the sets of attributes, and thus divination outcomes, were probably less affected. Pliny and Cicero understood both sets as ‘astrological houses of gods’, thus a cosmology, but not necessarily of constellations. Several planets are named, thus there are as many ‘hands as ‘hours’. God names on the Piacenza liver were adopted from three cultures, revealing how Etruscan diviners subconsciously maintained universal structure by selective mixing and matching. The Etruscan League in its collective subconscious carved out a stylistic multi-cultural identity, as a trade mediator. The two cycles of gods here (as in Etruscan art), are from three different sets of gods. Ironically, the subconscious sequence of characters in Piacenza city, mostly of saints; and among its gates, mostly of family names, are much more distinctive than the sequence of consciously re-worked and rationalised planetary entities on the liver model, which include door or gate gods. Conscious interference does not scramble conscious artworks or building sites, but it could scramble a palm-sized divination device and a religious training school subject to political uses.
Piacenza city, a stoneprint of saints and bastions
Piacenza lies just south of the Po River. A bronze liver divination model was found about 15 miles from the city. The sequence of archetypes in the city is:
1 St Vincenzo. OFF THE GRID, without an apparent opposite at 8
2 St Antonio
2c St Arostino?; Municipal Theatre (off the grid, as usual)
3 Filodrome Theatre annex (long or bent neck)
4 ? near the theatre
5a St Carmel
5b St John (camel-skin with tailcoat head); and Castle (large)
6 St Sepoler Hospital, far out (ingress /egress); and St?; and St? (double-headed), near the centre (ingress /egress)
7 St Sepoler; and St Mad di Campagna
9 St ?
9c Civic Museum (often off the grid)
10 St Bufenia
11 St Sisto
13 Palace Farnese (sometimes royal)
14 St Savino, far out; and St Francis, nearby (both ingress /egress)
15 St ? dome.
The celestial pole is near Palace Gotico Elonisi, east from the axial centre, placing midsummer in Leo-Cancer, thus spring and the inspiration in Age Taurus-Aries, about BC 1500, at the perceived formation of Etruscan culture.
The sequence of archetypes among Piacenza city gates is:
2 south-east bastion
2c half-bastion on the Vauxhall wall
3 south bastion
4 military hospital outside the wall, rectangular
5b castle south bastion (large)
5c castle’s north-west bastion
6 gate Antonia, far out (ingress /egress)
7 west-north-west bastion
7g Galactic Centre; Outer bastion NW, on the river (water)
9 bastion Borghetto, with a large belvedere (bent)
9c Gate St Sisto
10 north bastion
11 gate Podesta
11p Galactic Pole; Podesta Road /10 June Road (limb joint)
13 north-east bastion with a belvedere wall (heart)
14 half-bastion (13c?) at the station
15 east bastion, near St Morricela?
15g Gate; Gate St Luzzaro.
The east-west latitude places polar and solstice markers in Cancer-Capricornus, thus spring in Age Aries, contemporary with Etruscan culture. All cities express the standard five subconscious layers of stoneprint. Piacenza does so twice, as the liver map does, not due to any special properties of sheep livers, or the Etruscan pantheon, or local architecture.
Paris stoneprint tour point by point
The French capital’s historic and spiritual womb is in Notre Dame de Paris cathedral, on City Island in the Seine. Its military and cultural heart is adjacent, in the Louvre on the interior bank. All its notable public, monumental, memorial and symbolic buildings, including the main entrance to its underworld of catacombs in stone quarries, are on its stoneprint, which was more or less fixed in the Middle Ages (see a map of earlier Roman Paris below). Railway stations do not seem to form part of the stoneprint structure in the cities tested up to late 2017. Visitors could start a typological tour at any point, ideally exploring features on each axis in turn, either in number sequence, or in the opposite, seasonal direction. The sequence of archetypes in the Paris stoneprint map is (noting archetypal attributes in brackets):
1 Builder; Eiffel Tower (tower, builder. See Tarot trump 1, Tower. See 1 in Rome, and in London)
2 Builder; Large Palace and Small Palace exhibition and museum complex (cluster). Four statue groups on the facade have twisted postures (twisting). And Concorde Square, with the Luxor obelisk (tower). Former guillotine site.
2c Basket; Triumphal Arch for the Austerlitz Battle, and Unknown Soldier’s tomb (mystery); Champs Elysees on the solar angle of a revolution date (secret or revelation. Astronomy observation points are never on the subconscious grid, see Stonehenge, and Magdalenburg). And Place Vendome with Napoleon’s spiralled column (bent neck) also for the Austerlitz Battle. And Magdalene church; she caught Christ’s blood in a cup (container), has long body hair (Medusa monster), placed a basket (container) of eggs (moons, of adjacent 3) below the cross, lived in a cave (of adjacent 2); and the crypt (cave) for weekday masses; Ten Commandments (revelation) on her doors. Former Napoleonic Army monument, formerly thrice re-planned, former synagogue. Furter out lies La Defence, including a cubic arch (typical of 2) and the Phare tower resembling a woven grain store basket (Basket, weave).
3 Queen; St Augustine church; and statue of Joan of Arc (see Tarot trump 3, Empress)
4 King; Opera Garnier, two Pegasus statues (decan Pegasus). The ceiling painting by Marc Chagall expresses a visual stoneprint. And Masonic lodge Grand Orient.
4 King B; Trinity church; and Masonic Grand Lodge.
5a Priest; Montmartre cemetery (of its opposite 12/13, death)
5b Priest; Basilica Sacred Heart (of its opposite 12/13), large 475m sq mosaic (varicoloured) of Christ in Glory (ascension; see Tarot trump 21, World, as a master ascended in microcosmic halo), large bell (large), equestrian statues (5 or 4 are sometimes equid). And Notre Dame de Clignacourt.
6 Exile; Zenith pop arena (music is typical of Pan, the god of type 6. His statue is on the adjacent 7 axis), far from the centre (egress), between science and music buildings (double-headed), on Canal Ourcq, in Villette Park (tree).
5c BasketTail; Ganesha, elephant temple on Rue Pajol.
7 Child; Buttes-Chaumont outcrop (more typical of 8/9). Former execution site, abattoir, dump, sewage basin, now clean. Pan’s statue belongs in Villette Park (see 6). Pierro De Cosimo’s painting of satyrs harvesting honey between a city and a butte (Mindprint p52-53) may be set at Solutre butt, where Stone Age hunters stampeded horses, but the scene of nature-culture interface is also expressed in this park.
7g Galactic Centre; Buttes-Chaumont park cavern springs, waterfall, pool (water).
8 Healer; Buttes-Chaumont Park Bolivar gate and Brigadier pavilion (pillars).
9 Healer; Belleville Park, hill with health springs (healers), formerly religious communities. Former Mardi Gras site on Fat Tuesday in February, before the fast.
9c BasketLid; Pere Lachaise cemetery of the famous, and execution wall. And former Templar Temple, south of Republic Square; and St Martin; and St Nicholas.
10 Teacher; Bastille Square; Liberty genie of the 1830 three-day revolution, arms in W-posture, holding a wreath (decan Corona), on a ball (wheel), with a torch (more typical of 9). Former fountain of Isis with arms in overlapping VV-posture, below her breasts, spouting water. And Square Vosges /National /Royal jousting track, where Henry2 died from a lance splint in his eye (as Nostradamus may have predicted) while celebrating a peace treaty with Spain (diplomacy). Henry4 rebuilt the track for mounted games and processions, named carousels (see an antelope carousel in the Egyptian Hierakonpolis tomb 100 mural, in Mindprint p220-221, and in a USA rock art work, in Expression 10). Prototype of townhouse squares. Former statue of Louis14 holding a staff, crowned (decan Corona) by Fame (his current statue is on a horse). Napoleon planned a replica of Egypt’s Dendera temple of Hathor, Mother of Horus (decan Bootes is the adult Horus) for a general killed in Egypt. And Hotel Force prison. And Victories Square, winged Victory with arms up, holding two wreaths (decan Corona, Crown). To the south is the remaining tower of St Jaques, who remains on top holding a staff.
11 Womb; Notre Dame de Paris, of Mary (womb). Its facades include several stoneprints (Mindprint p195). Its floor axis lies 25 degrees south-east, to sunrise on two feast days, and perhaps the heliacal rising of Sirius (later paralleled in the Louvre fort and Champs Elysees). Site of former temples on City island (womb). And Salpetiere (Salt) hospital, former gunpowder factory, insane hospital, and prison for 300 prostitutes (womb).
11 Womb B; Roman stadium, concentric (womb); and St Etienne du Mont, of Mary (womb), later of John, with relics of St Genevieve (Kin-wife, Guinevere, womb), patron of Paris, god-daughter of Lutetia (City of Light), carried in procession to Notre Dame (see 11) to cure rye fungus ergotism (decan Spica, Wheat ear). And first Gaul settlement (womb). And Palace of Justice (see Tarot trump 11).
11p Galactic Pole; City Island’s north bridge (limb joint).
12 Heart; Paris Pantheon, round dome on a hill (heart), formerly St Genevieve (see 11B). And French College. And St Michael Square, archangel over a devil or Death inverted (inversion), over a leonine dragon (feline). A City Island western tip, oldest bridge in Paris; statue of playboy king Henry4 on a horse (equid).
12 Heart B; Paris meridian (north-south ‘zero’ line) or ‘heart’, set by the observatory just north-east of Denfer Square. It does not run over the subconscious centre of the city, nor of the subconscious centre of the gates (conscious survey features never do, see Stonehenge). The first meridian monument, with a hole at the top (see Gobekli) was moved south to Montsouris park, or Mont Ysore, after a legendary defeated giant. Several nearby features were named ‘Ysore’s Tomb’ (death), near the Roman cemetery. The railway was formerly inside the fortifications (platform). Former Revolution statue (weapon, death), melted by German occupiers, replaced by Peace Armed (weapon) moved from d’Anvers Square. Five statues: A Lion’s Death (feline, Death, here three men carrying a dead lion, by Edmond Desca, 1929); Desert Drama, of lion versus python (decans Leo over Hydra, feline) with dead cubs (death); Mine Accident (underground, death); Col Flatters and company massacred by Tuaregs in Algeria (weapon, death); Gen Jose de San Martin, liberator of southern South America (weapon). Lake and cascade (water works).
13 Heart; Denfer Rochereau Square, nicknamed ‘Hell’ after some catacombs caved in; a military lion statue (feline. See lion-headed underworld foundation pegs under Gobekli, and the Babylonian chapter). Near the catacombs main entrance (Death). And Luxembourg gardens, Liberty statue, model for the gift to New York (Delacroix, whose own statue is also here, painted Liberty to expresses the heart and womb, see Mindprint p219); several lion statues (feline), and Diana with a bow (weapon). And St Sulpice, with an obelisk for timekeeping (its ‘meridian’ is a few hundred metres west of the Paris meridian); fountain with four lions (feline). And St Germaine des Pres abbey, former Roman temple site. And the Louvre (Window) southern bastion at the river (water works), a former fort (weapon, bastion); and Louvre interior, heart of Paris and France (heart). And Royal Palace (feline).
13 Heart B; Louvre glass pyramid skylight, upward and inverted (inversion) in the roof platform (see 12/13 in Rome, and several Mexican pyramid fields). Three former plans had proposed a pyramid here. Axes 11 and 12/13 impose their themes of birth, death, weapons and tunnels on many cities, on Paris in particular.
13c BasketHead; Miraculous Conception Medal chapel in Bac Street, where St Vincent’s heart (adjacent type 13) and Mary appeared to St Zoe (Life). or Catherine Laboure, buried here. The medal reverse has a +cross with a baseline interwoven (the cistas are often woven) in the top of a letter M, over two flaming hearts, one in a crown of thorns, one pierced by a sword (see cross and lion under Axum).
14 Mixer; Unesco office, Y-shaped (a rare attribute of 14, see Narmer’s chisel); and Military School. And former Tuileries palace, now a statue of a lion mauling a crocodile (decan Hydra). And Invalides (Veterans) chapel dome, tomb of Napoleon and others, statue of Napoleon as summer sun (polar) between two women holding palm branches (calendar or Time devices in Egypt, as of Seshat; see Tarot trump 14, Temperance, Angel of Time).
15 Maker; National Assembly or Parliament (sceptre or mace)
15g Gate; Champ de Mars (path or crossing, as a ’limb joint’).
Many city maps are slightly inaccurate due to exaggerating the width of streets and public squares. Some features of types 6, 7, 8 and 9 are not marked on the map. Further testing may reveal an inner periphery of these types, thus two expressions on the same axis, as found at types 10, 11, 12 and 13.
The ecliptic pole or axial centre is west of the old National Library. Several celestial polar markers are possible. The east-west cardinal direction may place summer in Taurus, thus spring and the cultural time-frame in Age Aquarius, confirmed by the unusual top central position of types 5 Priest. Prophetic time-frames are rare, usually in works that seek to perpetuate a culture, or human culture. The Louvre and the Museum of Man are among several sustained efforts to practice, curate and study culture in this perpetually renovated city.
The general themes in the Paris gates imprint are types 12/13 Heart and 11 Womb (see 11, 11B, 12, 12B, 13 above), typical of interior spaces, protection, nurture, gestation, as well as defence, death and transformation. The two themes combined express what many capitals strive to be: protected yet open, nurturing yet enterprising. Some feminine features are on the Leo axes (such as the Roman Isis site at St Germaine; and statues of famous women in Luxembourg park), while some Heart features are on the 11 Womb axes (such as the lions statue group in the Botanical garden; however type 11 has some minor felid features). Roman Paris had its forum and temples in the Sorbonne area, between axes 12/13, and a Jupiter temple on the Notre Dame site; thus a smaller stoneprint, probably also dominated by types 11 and 12/13.
All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
See the larger stoneprint formed by the 45 gates of Paris below. Its axial centre is in a different place, as in the two grids of Rome, Brescia, and other walled cities.
Photo guide to the Paris stoneprint
Paris type 2 Builder; Concorde Place obelisk. And Petit Palace Seasons and Elements (twisting); and Louvre museum Medusa mask (decan Medusa).
Paris type 3 Queen; Joan of Arc (a kind of empress) at St Augustine. Other types 3 Aries include Napoleon column with spiral (bent neck).
Paris types 2c, 2c, 4, 5, 6, 6
Paris types 2c Cista; St Magdalene’s cruet (container); Commandments doors (revelation). Type 4 King; Garnier opera Apollo (Sun); (and Pegasus, of decan Pegasus).
Type 5b Priest; Sacred Heart’s Christ in Majesty (World, or Transformed Soul).
Type 6 Exile; Zenith music (Pan) hall, in a park (Pan), logo of double cross (double-headed); and Pan (who is misplaced in the adjacent Buttes Chaumont park).
Paris types 8 Healer; Buttes Chaumont park outcrop (pillars) and springs (healing); Statue of Adamastor or Green Man (with a pillar, bent forward, strength feat). Type 10 Teacher; Bastille Square Liberty (arms up) with crown (decan Corona); Liberty pillar; former Isis statue (arms W-posture, and minister with arms up); and Vosges square former carousel (wheel).
Paris types 11 Womb; Notre Dame (womb) cathedral; with many reliefs and statues of Mary (womb). Salpetiere gunpowder factory, asylum, and prison for prostitutes (womb). Types 11 Womb B; Roman arena; St Genevieve (Kin-Wife, womb); Justice Palace with statues of virtues (Justice, see Tarot trump 11, Justice).
Paris types 12 heart; Masks of Death (death) on island bridge bastions (bastion); Michael Square, St Michael on a devil inverted, over griffin lion (felid); Pantheon (dome).
Paris types 13 Heart; Louvre pyramid on a platform (platform), paired with an inverted pyramid (inversion); Luxembourg garden lion (felid) and Diana hunting (weapon);
Paris types 13 Heart; Luxembourg garden lion (felid); Denfer Rocehreau square lion (felid) over catacombs (platform, death); Montsouris park Dead Lion (death, felid); Lion versus Python (felid, death); Armed Peace (weapon); Meridian marker (heart); St Sulpice fountain lions (felid).
Paris type 13c BasketHead; Miraculous Conception Medal (weave).
Paris types 14 Mixer; Unesco building (Y-shape); Tuileries lion versus crocodile (decan Leo Minor over decan Hydra); former Hercules versus Hydra (decan Hydra); Invalides veterans home, Napoleon as sun (polar) with two Time angels (Temperance).
Paris types 15 Maker: National Assembly (sceptre, order, creation), fronted by Law (order, creation) with the hand of justice (smiting) sceptre (sceptre); Facade of virtues, including Strength with a club (sceptre, smiting), a throne with armrests of thunderbolts (sceptres, creation), and a wand of order (sceptre); Heritage Colonnade including a sculptor chiselling (smiting) a large face (face), and Prometheus as creator (creation) with a small club (sceptre).
The Paris coat of arms includes a trade ship, subconsciously expressing type 15 Maker decan Argo, in the southern or underworld galactic river; framed by ropes (rope), between two women (doubled), in drapes (decan Argo Vela, Sail). The Seine enters Paris at gate 11 Womb, and exits at gate 15g Gate.
The 45 gates of Paris form another, larger stoneprint
In its last wall, Paris has about 45 tax gates, of which 35 are on an axial grid. The usual exceptions at types 12/13 Heart and 11 Womb, which are always on different features (typically bastions, platforms, gardens or waterways), explain four of the exceptions in the southern wall. Where more than sixteen types are expressed in one ragged oval (here unusually regular), the four double types are tripled or quadrupled; and single types are doubled (here some are tripled). The half-types are all expressed, as usual on complex building sites: 2c Basket on Gate Maillot, 5c BasketTail on Ourcq canal, 9c BasketLid on District Twelve gardens, and 13c BasketHead on Gate Plaine). However the c-types are not always on the grid, thus the grid points may be additional types instead. Six gates are unaccountably off the grid (notably type 9 Healer, two types 8 Healer, and one of the types 7 Child, all in the eastern wall). One of the four types 15 Maker is on the ‘annexed’ sports park, instead of a gate. Former gates in the older, smaller city, expressed a simpler outer stoneprint, however medieval maps are usually inaccurate.
Polar markers within the gates, have the same orientation as polar markers within the cycle of major buildings. Type 11p Galactic Pole is on Italy Square. Type 4p Galactic South Pole is on Montmartre cemetery. The ecliptic pole or axial centre is on City Island (limb joint), south of the Palace of Justice. Several celestial markers are possible. The current celestial south pole may be on the Hotel Cieu bridge (limb-joint), placing summer in Scorpius, thus spring and the cultural time-frame of the walls in Age Taurus1, before the work as usual (the time-frame of the buildings inside the current city are later, even anticipating the future).
The general theme among the gates could be type 11 Womb, as it is in the city itself. See concentric stoneprints also in the Piacenza liver, Piacenza city, Rome, and elsewhere. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
How to find the subconscious structure in a site plan
To find the sequence of archetypes in an artwork or on a site plan, list the peripheral elements that are near the outer edge, with their apparent features, either clockwise or anti-clockwise. Add potential type numbers after the features, to find potential anchor points for the highest number of correspondences with the standard stoneprint sequence (see the list in the Introduction). Try to complete the sequence by researching the characteristics of buildings and features. If the sequence is not confirmed by about half the characters or buildings, try adding type numbers in the opposite direction, or from different starting points.
Test whether axial opposite pairs confirms the sequence, by drawing an axial grid between their eyes of functional centres, such as altars, or entrances, or centres. Draw two or three lines from each feature, to two or three possible opposites, until the axial centre reveals itself by the crossing of five or more axes at one point; then redraw the grid with only the axes that cross at the same point. Most of the pairs of opposites should express the standard cycle of sixteen types, or at least the basic twelve types, as six pairs of opposites. If there are more than four strong contradictions (types opposite the wrong counterpart, or more than four characters off the grid), search for a better axial centre. Identify the borderline half-types; and the four remaining polar points, usually on limb joints. Use the standard caption format to write a structuralist analysis of the building, complex, city or artwork.
Use the standard analysis scoring formula to determine variation from the expected average of 60%. If the score is below 40%, repeat the analysis on a different map, or with other variants. If the score is above 80%, confirm whether each element accounted for, is categorically visible.
Cut and paste these labels to identify characters and structural points on a map or artwork image. Pairs of opposites are given above/below one another. Some pairs may remain unused (often the Cistas, or 1-8, or 12-5a). Use question marks for extra figures that do not express a type or border or pole:
The same set of labels is used in these and earlier illustrations, but that the format of the labels is now changed by placing the numbers before the mythic name, and replacing constellation mythic names by generic social functions. The format used in illustrations up to December 2016, was ta1, ar3, and so on, which is less intuitive to read. Future illustrations will follow the new format above.
About structuralist anthropology research
In 2016, Stoneprint, the human code in art, buildings, and cites, confirmed a new direction in the exploration of our cultural record, of our nature, and of nature. The book takes readers on a journey through all the famous cultural sites of the world, and the intuitive crafts and human sciences, towards integrating the subconscious and conscious paradigms of whom and what we are. The book breaks the bonds that held science and popular culture to fundamental, causal, common-sense explanations of our works, such as ‘development, diffusion, and cultural evolution’. We have always been a super race, with a large capacity for working structural wonders, but with limited self-knowledge. Stoneprint is an indispensable aid to exploring the art, artefacts, tombs and cities of any culture, and opens a new field of enquiry to crafts and human sciences.
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Furter, E. 2016 Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg. First edition
Furter, E. 2016A. Abstract signs in art as shorthand for cultural structure. Expression 13, Atelier Etno, Italy [the magazine layout scrambles captions and text, corrected in the book: Meaning of abstract signs]
Furter, E. 2016B. Colonial artists re-style the same characters. Expression 14, Atelier Etno, Italy
Furter, E. 2017. Pregnant is the most consistent typological gender. Expression 15, Atelier Etno, Italy
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Artworks and art galleries rarely become a public socio-political battleground, as in the 2016 -2017 University of Cape Town (UCT) student bonfire, and the censorship attempt. Subconscious content in Pippa Skotnes’ San-styled window, adds to the ironies.
UCT removed, covered, draped and otherwise sacrificed some artworks to the fickle causes of transformation in education. Several ironies in this South African art debacle, offer rich data for academic culture clash debates in social anthropology.
Archetypal structural analysis of some of the banned artworks, and of some of those remaining on the walls, confirm my evidence in Mindprint (2014), and in Stoneprint (2016), that all recognised artworks worldwide subconsciously express the same core content, as a kind of visual grammar, or cultural DNA. Only styling, and apparent conscious intention, allows socio-political claims to culture. The core content offers an objective lexicon of meaning against which many human scientific terms, and even the subject and science of semiotics could be defined (See Furter on semiotics as the natural structure of meaning, in Expression 16).
Polities want to link their leaders to some recognisable symbols, to appropriate an identity (see Endicott and Welsch 2005: Taking sides). Cultural identity is invariably linked to aspirational values, such as ‘old, pure, rich, complex, open, sustainable’; while underdogs demonstrate their suffering (such as struggle theology), continuing well after gaining freedom and prosperity. Student leaders found little to appropriate in the remnant cultural record of colonialism, Western democracy, and attempted idealisation of rural life. De-colonised people worldwide demand the lie of former utopias from ‘their’ arts; while arts demand of ‘their’ sciences to legitimise cultural kitsch (Endicott 2005, citing Turner vs Hagen; Clifford vs Dutton). The streets and galleries of Paris, London, and west and east Berlin, once reflected the same identity struggles against status quo burdens, each wave of re-styling leaving its own stylistic burdens on the visual and architectural fabric. Among the worse of these burdens, by almost any measures, are the populist revolutionary and communist burdens in art and culture in formerly communist countries.
Archetypal analysis escapes socio-political relativism by revealing the subconscious, compulsive, typological and spatial and framework of visual and architectural expression, that is not taught or learned anywhere, and that all artists worldwide, in all ages, follow unawares, in great detail.
The Smuts House San window of breezy bags
Pippa Skotnes designed some of the Smuts House ‘rose’ windows at UCT, with contemporary democratic, and some indigenous themes and styling, to counter-balance the Euro-centric cathedral medium, and heraldic styling of the colonial era windows. In a similar programme at Wits University, Cyril Coetzee painted a 9-metre canvas titled T’Kama Adamastor, a visual narrative of Andre P Brink’s parody of colonial views, showing the arrival of Portuguese ships, soldiers, priests, traders and cosmogony, through Khoekoen eyes, but in Renaissance styling (Vladislavic 1997). Archetypal analysis of the Coetzee canvas (Furter 2014: Mindprint, p128 -129) reveals a tripled expression of the universal subconscious structure. For comparison, the same kind of multiple ‘geared’ mindprint was demonstrated in Egyptian Naqada designs (Mindprint p 126); in several Ice Age (p150-151 etc); African, and American (p140 -141) rock art works; and in a Smuts era political art cornice in the Pretoria old town council chamber (p159), where incidentally some of the regular type 11 wombs (literally) are of Voortrekker women, and some of black servant women.
Archetypal analysis of another artwork by prof Pippa Skotnes, ‘Down here a starless sky’ (Mindprint p209), confirmed that learned artists express subconscious structure to the same average of detail as novice artists, and as rock artist. And despite great learning in iconography and the rest of the art history curricula, including alchemy in the case of Coetzee, schooled artists likewise did not know of the existence, or any comprehensive details of the five layers of mindprint (author’s conversations and correspondence with Coetzee, Skotnes, Eljana van der Merwe, and several other artists).
Whether an artist develops an individual style or programme; or designs for a broad market or for a commission; or mimics a recognised style (such as pseudo-San art by Oscar Stoppforth, by Walter Battiss, by Pippa Skotnes in the window discussed here; or pseudo-Egyptian art by modern artists; or pseudo-Dali styling as by Michael Yakono), the resulting designs are almost indistinguishable from ‘original’ ethnic artists, and differ only in their media, textures, techniques, and provenience.
This article offers the standard format caption of the characters, in their standard peripheral typology sequence, with the archetypal features they express, the polar markers, the cultural Age. Then follows a note on the general theme; and some comments on the ironies in ‘us and them’ culture debates; and a ‘blank’ version of the standard archetypal analysis caption (updated in May 2017 by extending the number of identified typological features, from a recently extended database).
On three related websites, visitors may compare archetypal analysis of the Skotnes San window in this article, with ‘real’ San and other artworks.
The sequence of archetypes in the Smuts House San-styled window, Wind in Kabbo’s window, by Pippa Skotnes, is:
Type /analogous season; Character (noting archetypal features):
1 Builder /Taurus; Antelope? (bovid) obscured by the frame, part of a ‘bag’ of seven animals (cluster).
2 Builder /Taurus; Antelope? (bovid, part of a ‘bag’ of seven animals (cluster); and a large antelope (bovid) in twisted posture (twisted).
2c Basket; Swift-person or swallow-person (more typical of 1 /2), or bag stitches (container, woven texture).
3 Queen /Aries; Horse (long or bent neck); calabash ‘head’ (long or bent neck); and on a closely adjacent axis is the large antelope with bent neck (long or bent neck, sacrifice). These three characters are on two axes, opposite the two eyes of a geometric character at 10, which also has a bent neck (typical of sacrifice in symbolism worldwide).
4 King /Pisces; Wagon profile (rectangular, not counted here since the work includes four wagons and a house); two occupants (twins, not counted here since four wagons have two occupants each), perhaps a ruler (king).
4p Galactic South Pole; Jaw (limb joint) of a leopard (varicoloured, typical of 5).
5a Priest /Aquarius; Farmer with a gun (hyperactive).
5b Priest /Aquarius; Status character in a wagon (priest?).
5c Basket Tail; Basket? (weave).
6 Exile /Capricornus; ‘Eye’ of a bag, visible in high resolution images.
7 Child /Sagittarius; Schematic geometric person (unfolding) in a formling (unfolding).
8 Healer /Scorpius; Spiral engraving on a boulder (pillar).
9 Healer /Scorpius; Sun engraving on a boulder (pillar).
10 Teacher /Libra; Two ‘eyes’ of an L-shaped formling.
11 Womb /Virgo; Reptile-shaped bag ‘womb’ (interior, mother).
12 Heart /Leo; Gunman (weapon, death, war) in a house (interior), front rounded (rounded, bastion).
13 Heart /Leo; Driver (weapon) in a wagon (interior).
14 Mixer /Cancer; Animal near the centre (ingress /egress).
15 Maker /Gemini; Master (order, smiting).
15g Galactic Gate; Net (rope of adjacent 15, sometimes a grid shape, as in some Zimbabwean works, and in the Coricancha gold plate mural in Peru).
Axial centre; Bag tassel (juncture).
Midsummer; Another tassel (juncture).
Midwinter; Another tassel (juncture). The solstice axle is on axis 13 or Leo, placing spring and the cultural time-frame in Age Taurus2, typical of most works made in Age Aries (framed by the foregoing Age), and of alchemical works in all ages.
General themes in this stained glass window include type 11 Womb, typical of gestation and interiors; and type 15 Maker, typical of bags (see the four large bags in the central design, and compare to bags or huts on Gobekli Tepe pillar D43), ropes, re-creation, social order, and appropriation.
All five layers of structuralist expression are subconscious to artists, architects, builders and members of all cultures. The conscious and symbolic themes here include transparency, inspiration, conservation, nature-culture balance, spirituality, and the value of minorities, as part of a commission to broaden the iconographic scope of the visual and historic texture of the university by including indigenous styling.
The analysis score [see an expanded scoring formula in later posts] is 28/70 features, 20/20 axial points, 4/5 polar markers, 0/2 planar or cardinal orientations, 3/3 thematic features; total 55/100, minus 5 extra characters off the axial grid; total 50%, in the lower average range of the global average sigma variation from 40% to 80%. More study of the San ethnography from which Skotnes drew some of the images, and the assumed narrative, and of the conventions that she adopted, could change the score.
Tyhpological labels and features
In any artwork, or on any building site map, containing eleven or more characters, rooms, or buildings; cut and paste these labels to identify characters and structural points. Pairs of opposites are given above-and-below one another. Some pairs may remain unused (often 2c, 5c, 9c, 13c; or 1v8, or 12v5a):
Labelling and identification of the axial grid, always support one another. Test for pairs of opposite eyes until a centre point emerges, then identify the heart or inner ‘eye’, and womb or unborn eye, which always express type 12 or 13 Heart, and type 11 Womb.
The mindprint ,model of structuralist anthropology lists the sixteen archetypes, and eight intervening points, and five polar points, by way of about 75 known recurrent features, each with its own average frequency of occurrence [UPDATE; the list of known features and frequencies was expanded by additional data in 2018, see Stoneprint Journal 5. Here is the 2017 list];
Type label; features with their global average frequencies:
14 Mixer; ingress /egress 50%, bird 10%, tree 6%, canid,
15 Maker; rope 30%, order 25%, bag 10%, face 10%, doubled 10%, pool 8%, canine 8%, creation, churn, sceptre, mace, rampant,
15g Galactic Gate; (gate 20%, river 6%).
Axial centre; (limb joint 26%).
Midsummer; (limb joint 50%).
Midwinter; (limb joint 37%).
The solstices axle or summer-winter orientation, implies the spring point between them, thus setting the cultural time-frame in Age Taurus1, Age Taurus2, Age Aries, or Age Pisces. This time-frame is usually the Age or transitional era before the work.
The vertical or horizontal plane (or cardinal direction on building sites) may confirm one of the polar axles.
The general theme is revealed by the presence of typology features in their usual place, as well as attached to some of the other types. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
The analysis could be scored as __/70 attributes, __/20 axial points, _/5 polar markers, _/2 planar or cardinal orientations, _/3 thematic features; total __/100, minus __ extra characters off the axial grid; total __%, usually in a sigma curve variation from 40% to 80%. [Update; The data formula changed slightly in 2018, and changed again in 2019, as new recurrent features of subconscious behaviour were revealed and added to analyses].
Ironies in art censorship
Several ironies are raised by the UCT banning or denouncement of the pseudo-San styled Smuts House window by Pippa Skotnes. Visual censorship could be labelled blank-facing, after the Johnny Clegg song ‘Hasiem Bonanga’ (I may not see his face), about the former censoring of photographs of Nelson Mandela. The ironies include:
Smuts was an active campaigner for finding and curating indigenous history and culture (as in the Mapungubwe saga), however patronising the initiative turned out to be in practice. Mob rule over the arts, as in the French, British and Russian Revolutions, and now in the education revolution, are strong versions of patronising, or acculturation (ironically largely to a blank wall that could be labelled ‘under development’ or ‘watch this space’), by enforcing ‘kangaroo court’ decisions on public art and thus on the cultural record.
Remaining San artists are few (see Khoe tapestries at Wits University’s Origins Centre, which each express a slightly flawed mindprint, perhaps due to some elements of collaboration and cumulation in the process).
Skotnes understood San spirituality as well as any artist of any colour, or as any UCT student. The contribution of informants to the study of self-acclaimed ‘ethic’ art is typically small (see Keesing v Trask, in Endicott 2005).
Students removed and burned some UCT artworks, notably a kind of ‘instamatic’ coloured drawing of themselves clambering over the podium where they had removed the Rhodes equestrian statue; thus censoring a full frontal ‘snapshot’ of their own mob rule. Perhaps some students were offended by the deft way in which the artist captured mob ethic, probably including individuals recognisable by their clothing or antics. That artwork probably also expressed mindprint.
The instinct of revolutionary students that the education system is too expensive, as in the Fees Must Fall slogan, is correct (due in part to the artificial cost of big name artworks and installations). But their instinct that art and science should serve ‘the people’ (that is, their new elite), is fatally flawed, to the dire detriment of art, science and their own cu-lture. Senior archaeology students and curators in Zimbabwe, who grew up in the Mugabe regime, express the same sentiment about museums and sites like Great Zimbabwe (see an archetypal site analysis of Great Zimbabwe, and the Queen’s Kraal, on stoneprint.wordpress.com, and on Academia.edu).
The UCT arts committee in its collective institutional wisdom, by applying censorship, implied that it understood the artworks on their campus; and udnerstood the motivations for displaying art; and that education should serve the emerging and semi-educated elite. These assumptions are not substantiated in any statement, least of all in the public relations drivel of the time, stuffed with attempted political correctness.
The main irony, still largely unknown to artists, academics, investors, and the public, is that all complex artworks (containing eleven or more characters in proximity), worldwide, are equally therapeutic, expressive, subconsciously recognisable, and capable of abuse (as colonial powers abused iconography), and equally capable of appropriating cultural and spiritual resources. In an earlier era of culture clash, herders painted crude white stick figures over inspired and proficient San art panels.
UCT anti-colonial revolutionaries did not offer alternatives to the supposedly offensive and colonial works (which I for one would have welcomed, as in my much earlier request to a private gallery in Pretoria to call for tenders to replace a certain pseudo-‘African’ mosaic by a big-name European artist).
Few artworks are irreplaceable and invaluable (as Ice Age Cave art is invaluable, and as Gobekli Tepe engravings are, since they are very rare, very old, and integrated into their canvases and cultures; from a time when there were too few people to sustain mob rule. As early Sumerian seals are invaluable, because they add visual meaning to poorly understood texts, and indicate the extent of cultural creolisation between Mesopotamia en India). What went up in flames, and disappeared into vaults at UCT, is not priceless, and mostly over-priced. I propose more slogans; ‘Demand for Big Name art must fall. Supply must increase’.
Most of the objectionably Euro-centric art risk of theft, vandalism, or both, are already in vaults all over Africa. A visit to the Johannesburg Art Gallery in Joubert Park is a depressing experience.
The UCT art committee had argued for a neutral space for art debate. Ironically, it is doubtful that more than one or two UCT art students per year are destined to fill the void left by art theft, student mob rule, political thuggery, and academic cultural ineptitude. Yet the attempt to discuss art, culture, identity and spirituality coherently in public view, in an era of rapid socio-economic change and migration, is welcome, and overdue. Here is my contribution; ‘Conscious concept art must fall. Study of subconscious expression must rise’.
I remain optimistic that a blank wall or two could light a few expressive sparks, not thanks to, but despite the cross-purposes of the arts committee and the party-dependent and party-serving arts committee.
-Edmond Furter, Johannesburg, South Africa, April 2017. Amended April 2019.
See an article on Ice Age and Gobekli Tepe art in another post.
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Sources and References
Anati, Emmanuel. 2004 Introducing the World Archives of Rock Art (WARA): 50 000 years of visual arts, in New discoveries, new interpretations, new research methods, XXI Valcamonica Symposium, p. 51-69. Capo di Ponte, Edizioni del Centro
Blackmore, S. 1989 Consciousness: science tackles the self. New Scientist, 122
Boeyens, JCA; Thackeray JF. 2014 Number theory and the unity of science. S African J. Sc. 110
Chrisomalis, S. 2015 Graduate Education in Cognitive Anthropology: Surveying the Field, Soc. for Anthropology
Furter, E. 2014 Mindprint, the subconscious art code. Lulu.com, USA
Furter, E. 2015 Rock art expresses cultural structure. Expression 9. Atelier Etno, Italy
Furter, E. 2015 Rock art Where, When, to Whom. Ed. E Anati. Atelier Etno, Italy
Furter, E. 2015 Structural rock art analysis. Association of Southern African Professional Archaeologists (ASAPA), Harare. Univ of Zimbabwe, in press 2017
Furter, E. 2016 Colonial artists re-style the same characters. Expression 14, Atelier Etno, Italy
Furter, E. 2016 Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg, South Africa
Furter, E. 2017 Pregnant is the most consistent typological gender. Expression 15, Atelier Etno, Italy
Furter, E. 2018. Stoneprint Journal 5; Culture code in seals and ring stamps. Four Equators Media
Furter, E. 2019. Stoneprint Journal 6; Rennes le Chateau stoneprint tour. Four Equators Media
Gombrich, E. (1979. 1984) Sense of Order: A Study in the Psychology of Decorative Art. Cornell University Press
Gombrich, E.H. (1960) Art and illusion: a study in the psychology of pictorial representation. Princeton University Press, New Jersey
Jung, CG. 1934, 1954 Archetypes of the collective unconscious. CW
Jung, CG. 1950 Synchronicity; an a-causal connecting principle, treatise
Jung, CG. 1964 Man and his symbols. Dell
Kuhn, Thomas. 1966 Structure of Scientific Revolutions, 3rd ed, Univ Chicago Press
Leach, E. 1970 Claude Levi-Strauss. University of Chicago Press
Levi-Strauss, C. 1973 From honey to ashes. Harper & Row
Ouzman, Sven. 1998 Toward a mindscape of landscape. Eds; Chippindale & Taçon, Archaeology of rock art, p30-41. UK, Cambridge Univ Press
Popper, Karl. 1963 Conjectures and Refutations. London. Routledge
Cape of Good hope early Dutch settlement, later named Cape Town (after Lloydthomas.org. Stoneprint labels and axial grid by Edmond Furter).
A Dutch harbour, water source, and vegetable garden on the sea route to India, soon grew into Cape of Good Hope village below Table Mountain. The sequence of archetypes in this map of early Dutch Cape Town is:
1 Taurus as fort Keep The Cow (19% bovid)
2 Taurus as Mostert’s Mill (48% twisting)
3c Cista as the plot of Hendrik Boom
3 Aries as fort Corn Heap, or silo
4 Pisces as fort Ruyterwag, Mounted Guard (sometimes a horse); at Dutch Gardens (26% rectangular, sometimes a field, as in Babylonian and Persian art), on the almond shrub hedge at the outer river border
4p Galactic South Pole on upper Dutch Gardens and canal (50% limb joint)
5 Aquarius21 as Rondebosch, Round Bush village
6c Cista Tail as Remajenne’s Green Field
6 Capricornus as Groote Schuur (Great Warehouse), nearer the centre (48% ingress /egress); later a hospital
7 Sagittarius as fort Keep the Bull (often with a rope)
7g Galactic Centre on five mountain stream headwaters (sometimes water)
8 Scorpius as Table Mountain (often large), a bastion (31% strength feat)
9 Scorpius as Table Valley, between mountain arms
10c Cista Lid as the Company Gardens; and Cape of Good Hope village; and Free Citizen’s village
10 Libra as fort Good Hope, pentagonal
11 Virgo as the Company Warehouse (87% womb)
11p Galactic Pole on the road fork (68% limb joint)
13 Leo as fort Dune Heap (often a platform)
14 Cancer as the Salt River mouth (sometimes a mixture of two waters; see Tarot trump 14, Temperance with two jugs)
15 Gemini as fort Lookout
15g Gate at the Salt River peninsula.
The celestial south pole is on the bush road bend (37% limb joint), on the long axis of the site from the invisible axial centre, placing summer in Gemini (equivalent of southern hemisphere Sagittarius but the same polar orientation applies in both hemispheres on earth), thus spring and the cultural inspiration is expressed in the temporal context of Age Pisces.
The general theme here could be type 4 Pisces, typical of horses, gardens, and rectangular fields (here as the Dutch Gardens, motivation for the settlement); or type 7 Sagittarius, typical of bags, stores, ropes, manifestation and juveniles. Cape Town now has several stoneprint layers, one consisting of Islamic (Muslim) spiritual master’s graves, named kramats.
The stoneprint analysis score on this early map is 14/25 attributes, 12/16 axial points, 2/5 polar markers, 2/4 thematic features; total 30/50, minus 1 feature off the grid; total 29/50, or 58%, about average as usual in sparse sites…………… [order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com using Paypal. In South Africa, the price is R300 with free postage to any Postnet account; or plus R30 for postage; or plus R60 per courier ]………………