Artist Leo Tangula’s paintings of apocalyptic bio-warfare, destruction, and struggle between Facist and peaceful world orders, include some mystic symbolism in Mexican panoramic political mural style and dynamic curves. His intention is similar to Pablo Picasso’s Guernica, which dramatises the horror of the Spanish Civil War to promote peace. The main general theme in Tanguma’s Order of Chaos artwork is revealed by extra features of type 12 /13 Heart, typical of heart (here of the mother and dead child), death (a procession of mothers with dead children, and slashed dove), rounded (sabre, shawls, wall, rainbow), weapon (sabre, rifle), or war. Four characters on two axes express this type here, two of these by their eyes and chest. Another general theme in this work is type 1 /2 Builder, typical of twisted postures (here of six characters), cluster (procession, and camp), bird (dove), tower (two), ruin (two), or book (here at 7).
Yet another general theme here is type 15 Maker, typical of churn (souls entering and leaving life), order (part of the title, ironically chaos), bag (shawls, respirator), weapon, or smite. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.
Type Label; Character (noting archetypal features):
2 Builder; Window A ruin (twist, tower, build, ruin).
3 Queen; Window A ruin (sacrifice).
4 King; Window B (rectangle) ruin.
5a Priest; Window C and floor (horizontal).
5b Priest; Window D ruin.
5c Basket Tail; Poem manuscript (weave, reveal) by Hama Herchenberg, 14, who died in Auschwitz Nazi concentration camp in December 1943: “I once was a little child who longed for other worlds, but I am no more a child for I have known fear, I have learned to hate, how tragic then is youth which lives with enemies, with gallows ropes. Yet I still believe I only sleep today, that I will wake up a child again, and start to laugh and play.”
6 Exile; Dove or Peace stabled (sacrifice).
7 Child; Book (‘bag’, unfold, eyeless).
7g Gal.Centre; Box? (juncture).
9 Healer; Teddy bear (‘strong’ in irony) as comfort (heal).
10 Teacher; Child holding (arms up) toy bear (‘hunt-master’ in irony).
11 Womb; Mother’s midriff (womb).
12 Heart A; Dead (death) child.
12 Heart B; Dead (death) child’s chest (heart).
12 Heart C; Mother’s chest (heart).
12 Heart D; Blonde woman.
13 Heart A; Mother.
13 Heart B; Woman in white shawl.
13c Basket Head; Woman with shawl (hat) in procession of mothers.
14 Mixer; Procession of mothers.
15 Maker; Fascist soldier with bandolier (rope), strident (rampant), imposing rule (order), with gas mask (face, bag), gun (‘mace’, weapon), slashing (smiting) a peace dove.
15g Gal.Gate; machine gun (juncture).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Wall between two ruins (juncture).
11p Gal.Pole; Blonde woman’s jaw (limb-joint).
Midsummer; Soldier’s thumb (limb-joint).
Midwinter; Child’s foot (limb-joint).
The polar triangles are on the horizontal and vertical planes. The solstice markers place midsummer between Cancer and Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, confirmed by ,,,,,, prominence. Transitional time-frames are typical of themes of change.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
The archetypal model of subconscious expression is validated against hundreds of artworks of all times, cultures and styles, including sugar, caffeine, cannabis, ayahuasca, DMT, cactus, mescaline, mushroom, psilocybin, rock art and ‘fine’ or ‘academic’ styles. The standard structuralist anthropology analysis named mindprint, follows a set format to enable comparison worldwide (see the paper Blueprint on http://www.edmondfurter.wordpress.com and on Researchgate or on Academia.net). All complex artworks express 60% of the 100 known features of archetype, in five layers (see other posts on archetypal structure in built sites, icons, hieroglyphs, alphabets, and in natural media such as the periodic table of elements). Archetype regulates the ‘grammar’ of energy, matter and meaning. Here is an example of subconscious structure in a DMT-styled artwork titled ‘Peace Pipe’.
General themes in Lilian Kolster’s Peace Pipe vine artwork, are types 2c Basket, typical of woven texture (here vines and smoke), instruments (pipe stem), or containers (pipe bowl); and type 3 Queen, of long necks (buzzards, and fox pipe neck), queen (here taking the place of the adjacent King), spring (leaves), or school (insight from meditation); and type 4 King, of birds, or furnace (pipe bowl). Life cycles offer some insight into natural patterns, as the caterpillar smoking a hookah does in Alice in Wonderland. Below is the standard list indicating which optional features Kolster expressed in this painting.
Type Label; Character (archetypal features expressed):
1 Builder; Buzzard B (bird) hovering (twist), in a group (cluster).
2 Builder; Buzzard C (bird) hovering (twist), in a group (cluster).
3 Queen; Buzzard D (neck long and bent, beak long and bent).
4 King; Vine smoker (‘furnace’) with feathered neck (bird).
5a Priest; Buzzard E (winged, colours) hovering (hyperactive), at nectar (‘water’).
5b Priest; Butterfly A (colours, hyperactive, winged).
5c Basket Tail; Butterfly B from smoke (tree/herb, reveal). And pipe (container) of burl or root (tree) with smoke (herb, reveal). And Buzzard F. And Dragonfly (tail).
6 Exile; Bee-eater?, far from the axial centre (egress). And Budgie B, near the axial centre (ingress).
7 Child; Bee-eater? chick (juvenile). Off the grid (eyeless), as type 7 often is.
14 Mixer; Owl A (bird), far from the axial centre (egress).
15 Maker; Buzzard A (winged), upward (rampant).
15g Gal.Gate; Insect.
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Buzzard E’s wing (limb-joint).
11p Gal.Pole; Unmarked.
Summer or celestial pole (cp); Buzzard A’s feet (limb-joint). Winter or celestial south pole (csp); Unmarked. The solstice axle is on the vertical plane of the axial centre. These markers place summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces, confirmed by the large face expressing type 4 or Pisces. Most artworks express the time-frame of a previous Age, when the culture of the artist was formed. Age Aries-Pisces spring was about BC 80.
Structuralist features of expression are universal, and subconscious to nature, artists, architects, builders, crafters and members of any culture. This example is one of 800 confirming the archetypal structuralist model, named mindprint in art, stoneprint in building sites, and blueprint in myth, pantheons, iconography and alphabets.
See articles on the model, and other examples, on http://www.mindprintart.wordpress.com. Order the book Mindprint (2014, 270 pages, 200 illustrations), or select editions of Stoneprint Journal (16pages or 24pages), on Lulu.com. Mindprint is also stocked by Barnes&Noble.
Order the book Stoneprint by email to www dot edmondfurter dot gmail dot com at $/e25 plus mailing cost from South Africa.
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
Greek Cycladic islands salt evaporation pan bases often traced out planetary calendars. One terracotta pan bottom incidentally expresses the archetypal cycle of sixteen types in a rare axial grid. Patterns on the base may induce vortices to speed up evaporation and crystalisation, perhaps leaving faint patterns in the salt cake as a kind of ‘water mark’. The pan formed a kind of ‘womb’. At the handle was often traced a vulva triangle, and two short ‘legs’. Salt cake ‘coins’ were made in wooden, pottery or bronze pans.
General themes in this terracotta pan base (bottom), perhaps made by a mould, include the four half-types, typical of containers and lids, secrets and revelations, heads and tails, options, and woven textures; and type 11 Womb, of gestation (here salt crystalisation); and the polar types (here a rare axial marker, rare axial lines, and circumpolar decans (see similar Egyptian sets of decans in Neugebauer and Parker 1969). This work uniquely hints at some conscious appreciation of some of the five structural levels in nature and culture (sets of optional features; sequence; eye-to-eye axes of opposite pairs; polar markers; and relative orientation). Further study could reveal more about how various cultural media sustain their expressions of archetypal structure, despite occasional illustrations of one another, and copy errors arising in formalised ‘programmes’.
1 Builder; Scribe? (book). Egyptianising indicates a later date (as Hellenising indicates in Egypt).
2 Builder; Fish (SWOPPED with 4, bull, decan Hyades, see caption). And cobra or fish-hook? (twisted).
2c Basket; Caduceus (snakes, weave. Decan star Algol, head held by a Perseus type. C-types are off the axial grid. In this work they are all expressed, as the strongest cardinal cross, perhaps as seasonal markers of the era (see notes below). The general theme here includes half-types, structural points, abstracts (half-figures), and regular geometry (rare in art and building sites). Thus the work may be a conscious model of archetypal structure, the first candidate identified among 600 artworks and 60 building sites.
3 Queen; Ram (ovid, sacrifice). It takes up more than its ideal 20 degree slice, and its bent ground-line indicates conscious interference.
4 King; Throne? (rectangle, king, perhaps furnace?). And bull (SWOPPED with 2, fish?).
4p Gal.S.Pole; Peg or pipe (juncture, spout?). And ingot or plaque? (of 4, rectangle, decan Pegasus Square).
5a Priest; Radiant head or Apollo (sun, of 4, perhaps displaced in favour of the misplaced bull). And noose (ribbon, of 4, decan Pisces ribbon?). And plaque rear (decan Pegasus front).
5b Priest; Ladder, or measure, or two angels? Head (tailcoat head?). Rod or foreleg (more typical at 8/9 Healer. Here a priest?).
7g Gal.Centre; Cross-staff (juncture, decan galactic crossing). The small next to the polar circle may express the abstract edge of the polar triangle (4p-cs), one of many indications that the work is largely subconscious, despite conscious calendric intent. Very few artworks function as star maps or calendars.
8 Healer; Snake (healer) rear-facing (poison neutralised?). Circle (decan Ophiuchus, snake-handler?). Rectangle or podium (pillar).
9 Healer; Small circle. Turtle (decan Hercules, spread posture).
11 Womb; Water monster (decan Hydra). Breasts and midriff (womb). Bear? (decan Bootes, bear tamer), rear-facing (probably combined with 12 Ursa). General themes in the work include sea, salt, gestation, currency, and polarity (here axes, and circumpolar decans).
11p Gal.Pole: Spear (juncture, weapon, of 12). Decans Bootes-Ursa near the pole resemble two cups (decan Crater, Grail, below them). The more usual L-shape of decan Coma and its galactic pole is absent, confirming that the work is largely subconscious.
12 Heart; Ball or drum? (interior, rounded). Kithara or harp? (chest, interior, perhaps decan Ursa?). Bear rear (decan Ursa. See 11).
15 Maker; Loom (rope, decan Canis Minor?). King? (re-creator) with coat (bag), weaving (churn) twine (rope), from wool or cotton? (bag).
15g Gal.Gate; Cotton stock (juncture). Orientation of the work is anchored on the two galactic gates, the handle at 7g (at the galactic centre, where the ecliptic bridges the galactic ‘river’, here at the largest circles), and the furthest edge at 15g, the Gemini-Taurus ‘gate’.
The axial centre or ‘ecliptic pole’ is on the design centre (rare). This point, and its grid, constantly rotates around the celestial pole (labelled c), a circuit per day, thus the work is not usable as a star map, rather a myth map or ritual chart. Here are ten potential ‘celestial poles’ markers. The vertical plane of the handle may indicate a celestial pole on the 15g Gate spindle post base (juncture. Anubis fetish?); and the ‘celestial south pole’ on 7g’s Galactic Centre base (juncture). This plane may place ‘summer’ in Gemini-Taurus, thus ‘spring’ and the cultural time-frame in Age Pisces-Aquarius, confirmed by the thick post on the right. This is our current age (about AD 2016. See ‘Columbian’ discs below). The unique axial grid, with strongest cross lines on diagonals between the half-types, may place midsummer on the 13c or Leo-Virgo spear point (juncture); and midwinter or ‘celestial south pole’ on the 5c peg point; thus spring and the cultural time-frame in Age Taurus-Aries, about BC 1450. This subconscious time-frame is confirmed by the 2c bovid head, and the large X-cross opposite it at 9c, as an autumn equinox marker.
Doumas (1993) suggested that ‘frying pans’ made salt cakes currency. Experiments with a replica of a Castellic dish in France succeeded (Cassen and Vigier 2011). Handles had a female public triangle, indicating a kind of womb. Similar pre-Hispanic pots were found at Sayula, Mexico (Liot 2000), and a similar craft at Tswaing meteorite crater near Pretoria, South Africa.
The format may have been a model for Tibetan Chinese calendar discs, and ‘Columbian’ calendar discs (see below). Here are sixteen hour decans, eight borderline decans (24 hours), and eight polar decans (total 32). Resemblances with Babylonian decans are probably archetypal.
An apparent copy error swopped the Taurean bull and Piscean bird or fish, due to an inherent subconscious ambiguity (both types could be a bird); or a spring marker update from Taurus to Aries; or conscious interference in the spring sector, of a sequence misunderstood as seasonally anticlockwise. The line between ram and out-of-place bull is bent.
STONEPRINT Journal series
This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities. To order the book Stoneprint, or the book Mindprint (on art and rock art), or Stoneprint Journal editions including some full colour pages; or to book slide show talks, or to contribute articles, email edmondfurter at gmail dot com or call +27 (0)11 955 6732.
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