Rennes le Chateau’s archetypal sphere

Rennes le Chateau archetypal landscape includes Couiza. It is as complex as in the earlier, adjacent Bains. At Rennes the eternal structure is now identified in subconscious expressions at several levels of scale: in the church domain; church floor plan; and church mural statue group (see other posts). The same applies to cities, including Paris and London (Stoneprint Journals 3, 4). Priest Berenger Sauniere, like Boudet in neighbouring Bains, unknowingly served the global, subconscious agenda of all cultures, each in different styling.

Rennes les Bains ‘Celtic’ circle stoneprint tour

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.

Gobekli Tepe art is archetype, not a zodiac

A vulture and scorpion among the animals carved on Gobekli Tepe pillar D43, attracted several interpretations as a ‘zodiac’. However no coherent star map, observational record, or zodiac emerged. There is some consensus that four species on two other pillars could be seasonal ‘beasts’. As in artworks worldwide, in all Ages, the design subconsciously expresses the five-layered archetypal structure found in myth, ritual, building sites, calendars, constellations and decans.

Stoneprint book index

Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm, 130 illustrations) resolves the mysteries of correspondences between ancient cultures. The book reveals the core content and ‘grammar’ or ‘DNA’ of culture. We have an innate subconscious compulsion to express a specific, complex, archetypal set of features, in sequence, and on an axial grid, in all our works.

Nazca plain geoglyphs speak structural grammar

Criss-crossing trapezium lines form a kind of ‘forest’ over the core area of the Nazca geoglyphs. The character figures are in continuous-line format, indicating a well-developed style, perhaps based on textile weaving crafts, or to enable processions. Their ecological themes speak of climate change. Here is the peripheral sequence of characters in the Nazca core area is (noting archetypal features).