Stoneprints in historic Western sites

Delphic Apollo subconscious stoneprint tour

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

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

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

A site for kings, priests and junctures

Dominant general themes in the Dephi campus include these types:

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

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

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

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

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

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

1 Builder; Krateros column (tower).

1 Builder B; Apollo temple west chamber.

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

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

3 Queen B; Archaic building.

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

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

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

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

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

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

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

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

8 Healer; Prytanaion, fire altar (flame).

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

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

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

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

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

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

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

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

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

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

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

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

Axial centre; Probably unmarked, as usual.

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

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

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

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

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

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

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

Archetype finds universal expression in all media

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

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

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

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

Classical esoterica at Delphi

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

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

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

Architecture reveals our subconscious 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 the 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, ears, and teeth. A similar structure informs bio-chemistry and DNA. The archetypal expression in our works, in the cultural record is now readable, with significant implications for cultural crafts, and 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 human 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. Culture does not ‘come from’ any of our media, but from archetype, the potential that enables nature to express self-replicating and mutating energy. Our re-expression of archetypal structure could be named stoneprint, the human code.
Structure is never invented, developed, imitated, learned, taught, or lost, despite its moderate inherent variety, and the wide range of styling that we feel compelled to add when we claim culture for our society. We use it to claim and exploit natural resources, including places and times.
Archetype, structure, and culture existed before we did, and before the universe, and will outlive the cycles of its expression intact. We have grown into our place in nature, adding transformation and multiplication to the place that nature reserves for us.
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 all the core content of culture in all our media, with as much apparent variety as possible. 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 reveals the size and shape of the blinkers in our conscious perception and assumptions. This book lifts the ‘beam’ of self-deception from our works, and from our supposedly scientific eyes. The revelation starts with a testable definition of the subconscious structure in art and buildings. Then we query each esoteric craft, and each human science, on the abstract elements in culture and nature; and test the structure of 130 artworks, geoglyphs , buildings, temples, pyramid fields and cities.

We will continue designing art and buildings by intuition, but we will never see or study our works with half our brains again……… [order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com ]……..

The human code in Ice Age sites

Radar reveals the Gobekli Tepe village stoneprint

Gobekli Tepe houses A, B, C and D (not built in that order) are inside the later level IIA terrace wall, and avoided by later buildings. Level III has fifteen more structures. Circle E on the southwest plateau may be the floor of a Level III structure similar to circle C, dated later, however it could be a quarry trial erection before its pillars were moved to the hill, a procedure used on some other sites, such as much later at Stonehenge (see Furter 2016; Stonerpint, Stonehenge chapter).

Larger and more elaborate houses may be earlier, while smaller circles and rectangular houses or rooms may be later. However many sites are known where the stoneprint structure unfolded over years, even centuries (see Furter 2016; Stoneprint, chapter on Egypt’s Kings Valley and Queens Valley. And see Stoneprint Journal 2; Crop circles are natural artworks. Active fields unfold stoneprint over about 18 seasons).

Asymmetry of the outline of the potential Gobekli hill stoneprint, raises the possibility that the still covered structures could express a second, adjacent stoneprint, ‘geared’ to the excavated sector’s stoneprint, perhaps by sharing types 13, 14, 15, and/or 1 (see several double stoneprints in Furter 2016; Stoneprint, Mayan or Mexican chapter).

Dominant typological themes in the excavated houses at Gobekli Tepe, reveal a larger encompassing structure in the hill complex. Identifications, and the axial grid, may change as excavation proceeds. Here is the tentative sequence, labelled by archetypal numbers, generic ‘characters’, /and the analogous constellation myth (not ‘sign) as abbreviated in the illustration:
1 Builder /Taurus; West rectangle.
2 Builder /Taurus; House B.
3 Queen /Aries; House A, engraved ovids (ovid 3).
4 King /Pisces; Undetected? Probably rectangular?
5 Priest /Aquarius; Undetected?
6 Exile /Capricornus; A south-east feature, unexcavated. Probably near the axial centre (ingress)?
7 Child /Sagittarius; Undetected?
7g Gal. Centre; A wall cairn?
8 and 9 Healer /Scorpius; ? May be crammed against perimeter wall.
10 Teacher /Libra; Unexcavated?
11 Womb /Virgo; Traces of an oval? Unexcavated.
12 Heart /Leo; Lion (felid) engraving on the east pillar of a rectangular house?
13 Heart /Leo; Lion (felid) engraving on the west pillar of a rectangular house; and a large house, unexcavated.
14 Mixer /Cancer; House D; and a distant feature, unexcavated.
15 Maker /Gemini; Very large house near D, on the hill summit; and a double (doubled 15) house, unexcavated, within later terrace walls.

The axial centre may be on House C. However this feature is usually unmarked, or marked by a feature different from the periphery of types, thus the site grid identification above may be premature.

Orientation of the potential site stoneprint, flips around the orientation of the stoneprint in most houses. Village houses expressing types 11 Womb and 12/13 Heart are on the north, while most houses’ pillars expressing types 11 Womb and 12/13 Heart are south-south-east. Or to be more accurate, types 11 and 12/13 are expressed here by benches between certain pillars, parallel to the way that artworks express type 11 Womb on a midriff, and type 12/13 Heart with their invisible axial lines on a chest, instead of eyes as of the other type characters.

Two of the most interesting examples of this of regular ‘exception’, is in Egypt’s Valley of the Kings, where the hidden tomb entrances form two adjacent stoneprints, while types 11 Womb (of Hatshepshut as a regnant queen among the kings) and 12/13 Heart axes are on tomb chambers; and in the Valley of Queens, where the tomb chambers from two adjacent stoneprints, while types 11 Womb and 12/13 Heart axes are on hidden tomb entrances. These axial grids could now be verified by archaeological maps and GPS, but they were built over centuries, without a master plan, each covered by slope scree before the next was begun, with at least one accidental breach into an older tomb (see Furter 2016; Stoneprint, and an extract in another post). Gobekli half-sunken or kiva-type houses, typical of the Ice Age and Younger Dryas, were apparently infilled before or while others were built. Older houses are on the south-west slope, with a good but hidden view of game animal movements in a north-south gully east of the hill, where they were trapped as they moved to and from Harran plain. Gobekli hill also has a view of this fertile and strategic plain. Later houses are on and over the hill summit, perhaps ritual or memorial, or with diplomatic functions, similar to the Apollo temple precinct and treasuries at Delphi (see Delphi campus stoneprint, and a tentative Delphi landscape stoneprint, in the paper Blueprint on

  • Order the book Stoneprint, the human code in art, buildings, and cities, including structuralist analyses of four Gobekli houses (an extract is included in another post), and three Gobekli pillar engravings, at$30 plus postage, from Four Equators Media via edmondfurter at gmail dot com.
  • Order the book Mindprint, with 200 examples of subconscious expression of archetypal structure in art and rock art of all cultures and eras, including two Gobekli pillar engravings, on
Stoneprint introduction

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.

The book demonstrates the innate universal structure in our works, including art, rock art, houses, kivas, temples, villages, sacred sites, monuments, pyramids (Egyptian, Chinese, Olmec as well as Mayan pyramid fields), and cities.

The examples range from the Ice Age thaw at Gobekli Tepe, Malta, and Scotland; to prehistoric sites such as Babylon; semi-historic sites such as the Giza, Avebury and Stonehenge landscapes; historic sites such as Ephesus, Rome, Axum, Quebec, and Cape Town; and across all continents and cultures, including Africa, the far east, south America (including Nazca) and North America (including Mystery Hill).

Among the cultural media that carry the human code, and camouflage it from our conscious mind until revealed by structural analysis; are rock art, ‘fine’ art, ritual, myth, poetry (such as two examples of Babylonian building rites, and two poems by William Blake) buildings, sites and region (such as Babylonia).

Nature also express archetypal structure. Stoneprint reveals several direct links between subconscious cultural expressions, and the periodic table (when charted on a spiral as by Maurice Peyroux); chemical elements; reflexology charts of our palms, irises, teeth, earlobes and inner ears. Our eye-hand-mind co-ordination expresses the same universal structure in building sites, even by different architects, and different  generations of rulers and builders.

Stoneprint, the human code in art, buildings and cities, now enables conscious access to our subconscious behaviour, which is revealed as standarised, rigorous, universal, eternal, complex, yet measurable.

The book places the discovery of subconscious behaviour (first reported by the author, Edmond Furter, in Mindprint in 2014), in the context of the esoteric crafts of alchemy, kabbalah, cosmology, astrology, and art; as well as the context of each human science: art history, archaeology, anthropology (with a humorous detour into popular archaeology), psychology,  and sociology.

The implications of the discovery of the universal stoneprint structure, for popular culture (including various schools of popular archaeo astronomy) , and for the human sciences, are significant.

Order the book Stoneprint, in Europe at E30 plus postage, from Four Equators Media via [edmondfurter at gmail dot com], payment on Paypal.

Order the book Stoneprint in the USA at $30 plus postage, from Four Equators Media via [edmondfurter at gmail dot com], payment on Paypal.

Order the book Stoneprint in South Africa at R300 (including free postage to any Postnet account in South Africa; or plus R30 postage; or plus R60 per courier), from Four Equators Media via 011 955 6732 or [edmondfurter at gmail dot com], payment on Paypal.

The index indicates the broad scope and depth of 28 years of research reported in Stoneprint. Each relevant craft and science is placed in context. Natural expressions are compared to cultural expressions. Each building site is illustrated by a map, and at least two pages of detailed structural analysis.

2 Architecture reveals our subconscious building code
3 The Five levels of structure in cultural media
3 The sixteen archetypes, in sequence
4 The axial grid of focal points
6 The four borderline types
7 The two galactic gates or cross-points
7 The polar clock of Ages
8 The six polar points
9 Structural analysis example of a site sketch plan

The cultural context of the human code
11 Alchemy: Crafts reveal chemistry
13 Chemistry reveals biology
15 Kabalah: Natural philosophy correspondences
17 Poetry: Blake’s London- Jerusalem- Golgonooza
21 Poetry: Blake’s Tyger describes expression
22 Poetry: The Stoneprint rhyme
24 Astrology: Calendars reveal divination
27 Cosmology: Direction is everywhere

The scientific context of the human code
31 Art History: Perception reveals gestalt
37 Archaeology: The World Archives challenge
42 Anthropology: Artefacts reveal structure
47 Popular Anthropology: Who did it?
52 Psychology: Behaviour reveals archetype
57 Philosophy: The universe reveals archetype
60 Communication Science: Structure is the message
63 Sociology: Behaviour reveals our self-image
66 Science and esoterica: our split consciousness
70 Why I wrote Stoneprint

73 [Chapter A] Natural elementary maps
74 The periodic table reveals atomic structure
80 Nuclear particles reveal atomic polar structure
81 Compounds confirm the axial pairs
82 Constellations chart our cosmos and myth
84 Astronomical poles in our cosmos
86 A crop circle solar system implies two grids
92 Earth imprints a motto: ‘I oppose artifice’
94 Trails of architecture in two crop circles
95 Numbers have character
96 Mars ‘face’ geology invites human gestalt

99 [Chapter B] Natural body maps
100 Our hands carry the imprint
102 Our eyes are windows to the body and structure
104 Our minds carry the imprint
106 Dental reflexology: the ‘boneprint’ in our cave
111 Our outer ear lobe reflex map
112 Our inner ear reflex map
113 Eye, palm, teeth, ear and organ map
114 Limb joints mark six poles

115 [Chapter C] Natural culture maps
116 Piacenza bronze liver double circle of gods
120 The sixth layer of culture is style conformity
121 Three sets of Etruscan gods integrated
121 Planets express poles and gates, not types
122 Gods or liver maps, which came first?
123 Piacenza city and its walls are cultural stoneprints

125 [Chapter D] Culture maps
126 The Maikop silver bowl paradise
128 Paradise, Fall, and Babel in a nutshell
129 Mapungubwe’s gold foil oracle reconstructed
130 A Venda divination bowl
132 An Italian Goose game board
134 Pedra Pintada engraving oval, and pentagons
138 The Bulgarian Karanovo tablet answers questions

139 [Chapter E] Ice Age sites
140 Turkey: Gobekli Tepe house C, polar boars
147 Turkey: Gobekli Tepe house D, type 14
150 Turkey: Gobekli Tepe house B, type 2
152 Turkey: Gobekli Tepe house A, type 3
154 Turkey: Gobekli Tepe excavation and radar maps
156 Turkey: Gobekli Tepe pillar D43, a culture portrait
158 Turkey: Gobekli Tepe grey pillar
159 Babylonia: Inana huts, Nevali Cori kiva, Kurdish huts
160 Turkey: Gobekli Tepe site perspective
161 China: An Iron Age T-shaped silk drape
162 A Greek healing pillar, and Shinto dressed pillars
163 Spain: Malta’s Mnajdra double stoneprint
164 Spain: Malta’s Gigantija double stoneprint
167 Spain: Hal Saflieni’s underground stoneprint
168 Scotland: Skara Brae plans
169 Scotland: Jarlshof wheelhouses and recycling
170 Spain: A Menorcan taula reconstruction puzzle

171 [Chapter F] Early civil sites in Sumeria
172 Babylonia was a stoneprint in clay brick
174 Babylon city, a vortex of dispersion
176 Two mythical gates
177 King-priest Ur Nanshe builds a temple
178 He built sixteen shrines
179 His crafts reveal subconscious method
180 He casts the circle of eternity, or polar ring
181 He was a visionary like Solomon
182 He works magic: as below, so above
184 He was an inspired architect, like Hiram of Tyre
185 He did not understand the building plan
188 He taxed the clans for construction
190 His allies and contractors
191 He surveys eight rooms, and erects eight doors
193 He set up six slabs as poles
194 An, Enlil, Enki: three equators to survey the site
195 Assyria: T-pillars and Y-tents in an army camp
296 Egypt: Narmer’s camp, and a school camp

197 [Chapter G] Early civil sites in Egypt
298 Sakkara, first royal campus, and a stepped pyramid
200 Teti’s pyramids form a stoneprint in Sakkara
201 Giza pyramid field stoneprint
204 Giza pyramid field is also a polar map
206 Kings Valley tombs are underground stoneprints
212 Queens Valley entrances lost and found
214 A ‘Syrian’ queen in a womb among wombs
216 Edfu temple is a double churn
218 Senmut’s ceiling stoneprint is half zodiac, half duat
220 Duats and decans are arch mutators

221 [Chapter H] Civil outpost sites
222 Nubia: Meroe pyramids speak with their doors
224 Egypt: Nabta Playa slab field counts four Ages
226 Egypt: Hawara labyrinth in Kircher’s Gnostic vision
228 Nubia: The cornucopia of minister Huy
230 Palestine: Jerusalem temple mount hybrid
233 Patriarchs, pharaohs, and kings
234 Palestine: Jerusalem, womb of three religions
236 Judea: Masada, a military stoneprint
238 Turkey: Nemrut hill, crossroad of Persians and Greeks
242 Australia: Elivna rock pavement engraving
244 Ethiopia: Axum is an ark of spiritual mysteries
247 Ethiopia: Lalibela temple field of bedrock ‘hearts’
249 Ethiopia: Lalibela’s Mary church; womb in a womb
250 Ethiopia: A reverse rock imprint spells ‘Rotas’

251 [Chapter J] Prehistoric European sites
252 Ireland: Drombeg house, a cosy double stoneprint
254 England: Avebury and Silbury landscape
256 England: Stonehenge counted three ages
263 England: Damerham circles in radar scan
264 England: Stonehenge landscape radar scan
266 England: Stanton Moor landscape; boulders and ‘ladies’
268 Greece: Phaistos palace, the other Greek labyrinth
270 Germany: Magdalenburg mound graves
273 Scotland: Stennes stone circle
274 Scotland: Cochno stone concentric engravings

275 [Chapter K] African sites
276 Zimbabwe: Great Zimbabwe, landscape with a womb
278 Zimbabwe: Great Zimbabwe queen’s yard with a womb
280 A kudurru boundary stone calendar spring bird
281 Egypt: Dendera zodiac summer bird
282 Zimbabwe: Nhunguza and Penhalonga metallurgy floors
283 South Africa: San Bushman painted stoneprints on rock
284 Mali: Nature and culture on a Dogon mud wall
286 South Africa: Lydenburg concentric engravings boulder

287 [Chapter L] Eastern sites
288 India: Buddhist wheel of life landscape panorama
289 India: Sanchi temple gate pagoda engraving
292 Nepal: Kathmandu palace square temple complex
294 China: Beijing Temple of Heaven park, an Aquarian cosmos
295 China: Choukungmu pyramid fields need more research
296 Japan: Nara Basin Horyuji temple, galactic manifestation
297 Japan: Todai temple, a living site
298 Japan: Himeji, Shirasagi-jo temple, White Heron nests

299 [Chapter M] Mexican sites
300 Izapa pyramid field and stelae, new world, same stoneprint
302 Izapa cacao tree ritual stele, a third layer of structure
304 La Venta pyramid field, spire eyes, platform womb
306 Monte Alban double stoneprint works with the landscape
309 Coba, a triple Stoneprint with interlocking ‘galaxy’
310 Uxmal was contested by a witch, a dwarf, and a king
312 Chichen Itza has temples to planets, and a stoneprint
314 Chichen Itza village scene, a busy day
315 Teotihuacan mountain stream, and rain woman mural
316 Teotihuacan pyramid avenue, Leo sun, Virgo moon
318 El Tajin pyramid field, double thunder
320 Palenque lid cosmic tree and double stoneprint
322 Palenque pyramid field, chaos among order

323 [Chapter N] North and South American sites
324 Peru: Machu Picchu, Mayan capital in the clouds
326 Bolivia: Tiahuanaco island’s Sun Gate is the sun type
328 Chile: Atacama geoglyphs with Aquarian tailcoats
330 Peru: Nazca plain geoglyphs express ecological structure
332 Peru: Cuzco’s Coricancha constellations reveal an update
335 USA: California’s Painted Rock, theatre of time
340 USA: Lower Colorado River geoglyphs has a calendar clock
342 USA: Hopi kiva 5mT2, and its village, hinge on a womb
344 USA: Colorado’s Mystery Hill metallurgy plant or tech school
346 USA: Crow Canyon kivas Block 100 has two missing features

347 [Chapter P] Historic Western sites
348 Italy: Rome, eternal city with an Age update
350 Italy: Rome’s gates and bridges are eloquent
352 Italy: Rome’s Capitol Forum, contested but constant
354 Italy: Rome’s Quirinal forums for spiritual order
356 Italy: Rome’s Vatican City, a stoneprint inside type Aries
360 Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
362 Turkey: Ephesus, former city of Amazons and Artemis
363 Icons: Serapis and Ophiotaurus, half-monsters
366 Spain: Santiago de Compostella, of a son of thunder
367 Spain: St James and Hercules, hybrid planetary characters
370 Canary Islands: Las Palmas governor’s house facade
372 Canada: Quebec, Victorian ideals in stone
374 South Africa: Cape Town’s Dutch forts claimed a footprint

376 [Chapter Q] Structural analysis formats
376 Kinds of media in the 130 examples
376 Commission impossible: design a stoneprint site
377 Emblems, icons, constellations and Tarot trumps

382 [Appendices] Structural analysis formats
382 How to find the subconscious structure on a site plan
382 The structural analysis format
384 About the author
385 Sources and references

Stoneprint introduction

Art design re-expresses innate structure

The discovery of stoneprint in ancient and modern buildings, is the second call on the human sciences, and on popular culture, to replace the fundamental and supposedly ‘common sense’ paradigm of culture as ‘developed and evolved’, with the paradigm of subconscious structural expression. The first call on popular culture was in the book Mindprint (2014), focusing on structural analysis of art and rock art, with one example in literature (a Mishnah verse on hours and religious symbols). The first call on archaeologists was made in a paper presented at the ASAPA conference in Harare in 2015 (UZ, in press, due 2017). The first call on anthropologists was in the rock art magazine Expression (2015 editions 9 and 10; 2016 edition 13).
Stoneprint in 2016 expanded the demonstration of the human code, or subconscious expression of archetypal structure, to buildings and cities, again supported by examples in literature (two Blake poems, and two Babylonian ritual praise poems on temple building projects, integrating liturgy, economy, philosophy, morality, and architectural features).
Demonstration of archetypal characters, and their clusters of motifs, and the nest of spatial structure, rests on recurrence. Birenbaum (1988) wrote; “A motif can be identified, for practical purposes, simply as any detail that recurs: a kind of character, place, structure, animal or plant, or any feature of the narrative process as it unfolds.” Recurrence and variation are the basic dual mechanisms of abstraction, expression, and meaning in culture and in nature (see protons, electrons, shells and compounds in the Natural Stoneprints chapter). Recurrence and variation enable rhythm, language, art, architecture, society, and music (especially after Bach’s popularisation of the current western scale, which allows modulation between keys). Art characters may seem too varied, and building elements may seem too repetitive, to compare to one another, or to myth. Yet stoneprint now reveals that art is sufficiently repetitive, and building elements are sufficiently varied, to express the same human code. The building blocks of culture are the five abstract layers, like the building blocks of nature are elements, their properties, combinations, and reactions; from indestructible electrons to fragile self-replicating creatures. Our replications or ‘creations’ are equally over-determined………..

[order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com].

See the archetypal structuralist analysis of the triple imprint in the artwork featured here, in another post.

Stoneprint introduction

Chemistry layers reveal biology, as typology reveals culture

Bio-chemistry is a structural science, now becoming a technology, reaching into the machinery of nature to switch mutations on or off. Our customary husbandry only used to mimic environmental factors to prompt natural mutation.
Yet we have always been capable of divining the structure of invisible aspects of nature. Some prodigies have seen visions of a double helix (as in some Jiroft carvings) millennia before Francis Crick and James Watson deducted a ball-and-stick model of the double helix of DNA. However it requires a high population density, specialization, and specialized equipment to turn visions into theory, and tests, and results, applications, technology, production, sales, and profit. Without all these enablers, new knowledge would gain little currency, and remain ‘secret’. Most people, including scientists, see the maturity cycle of material culture as ‘evolution’ in cognitive ability or consciousness, which it is not. Building methods have changed since Gobekli Tepe, about BC 8000, but our bodies, minds, behaviour, and societies have not ‘evolved’ in the intervening 10 000 years. We intuitively use abstract concepts in many media, such as building, art, language, and ritual. Nature does the same, but her ‘abstractions’ are combinations of particles and forces……..

The mindprint and stoneprint model of archetypal characters as social functions, with their sequential, spatial and polar relationships (after Furter 2014, 2019). Nature and culture projects archetypal structure around an axial centre, with some features analogous to cosmology. However the universe, and thus cosmology, also expresses archetypal structure.



Periodic table of elements (after Peyroux, with type labels added by E Furter). Many chemists chart the elements as a spiral. Rigorous natural structure is now demonstrated in cultural media, implying that perception and expression is innate, allowing thin layers of optionality and styling.

[order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com]


Nazca plain geoglyphs speak structural grammar

Main group of Nazca geoglyphs (after National Geographic. Stoneprint labels and axial grid by Edmond Furter). Straight lines were removed for clarity. North is left.

Hundreds of 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):

1 Builder or Taurus; Spiral A (twisting).
2 Builder or Taurus; Spiral B (twisting), due west of the axial centre.
2c Basket or Algol; ? and ?, directly between 2 and 3, off the grid as the c-types usually are.
3 Queen or Aries; ? near small trapezoids (3 Aries Triangulum, knife).
4 King or Pisces; ? near an orca whale (fish, or decan Pisces Cetus, Whale). None of these figures are to any astronomical scale or orientation, and thus archetypal.
4p Galactic South Pole; End (juncture) of a distinct set of parallel lines, aligned to a distinct small rectangle.
5a Priest or Aquarius; Alga sea-bird, long, large (large).
5b Priest or Aquarius; Condor (varicoloured), spread-eagled (hyperactive), large (large). To its south, on a hill among water flow lines, lies the halved man, with a tailcoat head (of type 5c).
6 Exile or Capricornus; Spider, long rear leg, near the centre (ingress).
7 Child or Sagittarius; Small cluster of lines, perhaps looped (bag, rope); also the spider’s ball and thread (rope, bag).
8 Healer or Scorpius; Head outline over a pair of large hands (strength feat), adjacent to a tree (pillar); also a large flower (unfolding is more usual at type 7) on a thick stem (pillar).
9 Healer or Scorpius; Lizard (more typical of type 10), arms forward (bent forward).
10 Teacher or Libra; Iguana, stiff-legged (staffs or pillars, more typical of type 9).
11 Womb or Virgo; Spiral D; and a frigate bird (off the image frame) carrying a large bag (womb, like the stork of Western myth).
11p Galactic Pole; Heron beak (limb joint).
12 Heart or Leo; Bee or insect.
13 Heart or Leo; Spiral C.
14 Mixer or Cancer; ? near the centre (ingress)
15 Maker or Gemini; Pelican?, diving, with a large dewlap (bag).

Galactic polar markers are outside the irregular equator of types, an unusual feature. There is no horizontal axis, since the figures are all differently oriented. The celestial poles may lie north-south of the axial centre, placing summer in Leo-Cancer, thus spring and the cultural inspiration in Age Taurus-Aries, about BC 1500, long before the work as usual.

The general theme of the Nazca geoglyphs could be type 8/9 Healer or Scorpius, typical of pillars (here a tree of life), trance vision, healing, ritual, and strength (here as large hands).

The stoneprint analysis score of the Nazca geoglyphs map is 16/25 attributes, 16/16 axial points, 2/5 polar markers, 2/4 thematic features; total 37/50, minus 5 extra features off the grid; total 32/50, or 64%, just above the average range……………. [see a revised scoring formula in later posts] …………..

[order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com]…………..

Stoneprint introduction

Stoneprint confirms rock art structure

Prof Emmanuel Anati (2004) had noted a combination of innate compulsion, and communicative development in rock art, linked to economic complexity levels. However he also noted that some stylistic elements seemed cyclic.
Anati’s challenge to the World Archive of Rock Art (WARA) was ambitious;
“The study of patterns in the grammar and syntax of prehistoric art, in worldwide documentation… of complete assemblages. Single figures, like single words, do not allow interpretation of cognitive process.”

Anati had called for:

• Global rock art data;
• Separated into five economic phases;
• Distinction between figurative, symbolic, geometric, and psychogram figures;
• Identification of the grammar, syntax, or structure of composition;
• Identification of common environmental, historic, and cosmic components.
Stoneprint answers Anati’s call, and demonstrates that:
• Art and rock art share the same core content;
• Illiterate cultures and literate civilisations express the same core content in visual and other media, including myth, ritual, and buildings;
• Economic phases are irrelevant to the core content of culture;
• Figurative characters and abstract ‘signs’ are interchangeable (as Anati had also found);
• The syntax, grammar, and structure of composition is a complex universal standard, of five layers;
• Environmental and historic components in art are unreliable;
• Cosmic components in art are inevitable (as Gombrich had found), and innate, thus subconscious;
• Innate compulsion drives cultural expression of archetypal structure, irrespective of theme or culture;
• Communication by means of art is unreliable, even in the artist’s own culture;
• Visual communication in artistic format did not develop, but remains confined to subconscious ‘meanings’, as it was in the Ice Age;
• Styling is cyclic, and mutates by fashion or fads;
• Assemblages, panels, or groups of characters, contain five layers of visual, grammar, syntax, and compositional structure. Single characters or groups of less than eleven, express some archetypes, which are difficult to demonstrate without the context of the standard subconscious ‘composition’;
• Art and other media reveal subconscious cognition. Conscious processes are of minor importance to most cultural media, such as art, myth, ritual, and architecture, since artists could explain only their own conscious rationalisations, of visible themes, and of styling.
There is only one art, and one culture, and we did not invent, design, or develop it. Culture, its media, and its artefacts, are shaped by the natural order of things that precede things. We re-express that order in our works, and thus transform materials into artefacts, as well as into universal structure. Culture is a natural given, just as the periodic table, chemistry, DNA, technology, ecology, and economy manifest themselves, and mutate to their own dictates, and maturity cycles, and interactions with other, equally structured media (what Gunderson labels ‘panarchical discourse’). Conscious thought and free will are overrated, while our subconscious minds and behaviour are underrated in the cultural record………….[order the book Stoneprint at $30 plus postage from Four Equataors Media, via edmondfurter at gmail dot com using Paypal ]……….

Stoneprint introduction

Cosmology is everywhere, not just in the sky

The primary natural expression of structure is in speciation (Tressider 1999). A lion is a lion, a bull is a bull, expressing coherent clusters of attributes. Some animals are universally recognised as archetypes. The animal kingdom offers analogies to other natural features (weather, planets, processes, calendar; and to cultural features (social functions, mythic episodes, rituals).
Yet only some animals express characters in myth, indicating that the animal kingdom alone, including humans, does not form a complete set of
archetypes. Myths, and rituals, time cycles, constellations and buildings to which we attach myths, indicate a mixed set of categories; species, griffins, gender, episodes, postures, skills, functions, status, items, tools, instruments, weapons, emotions and places. Culture imprints various mixtures of these natural and human elements on time, and in the sky. Again, no single imprint is perfect or complete. Constellation stick figures do not have their eyes on an axial grid. Some are out of place, like Libra as Bootes, standing over Virgo, instead of between Virgo and Scorpius. Some do not make good pictures of anything, such as Aquarius (perhaps a badly drawn zebra), or Sagittarius (perhaps a Chariot or Teapot). Stars borrow character from nature and culture. There is no pure or original astronomical ceiling, not even in the sky (see the Senmut ceiling, in the Egyptian chapter). Egypt did not have a rigorous constellation figure tradition (see the mixture of Babylonian, Egyptian, and Greek characters in the Dendera round zodiac, under Great Zimbabwe in the African chapter). In the Dendera rectangular zodiac, many of the Greek iconic figures are on an ocular (eye-to-eye) axial grid, but some are not across from their regular opposites, raising the possibility that there, for once, the axial grid was consciously used, but used with some errors. In polar decans, which are a mixture of gods, pictures, hours, months, and asterisms; the only constant, universal, and thus archetypal elements are the stoneprint layers in each decanal artwork, not the zodiac elements. Decanal paintings all differ, partly due to their inherent optionality …………….[order the book Stoneprint at $30 plus postage, from Four Equators Media, via edmondfurter at gmail dot com using Paypal ]…………

Stoneprint introduction

Astrology divines events by abstract structure

Astrology uses the sequence of the twelve core archetypes as abstract ‘signs’, but does not split the four large types into two each, as natural and cultural media do. The major stars are not eyes of constellation figures (except for the Hyades bovid skull, Gemini heads, Leo heart, and Virgo womb), and they do not form an axial grid. Astrology is a synchronistic divination craft, based on calendric cycles of qualities. Horoscope configurations express a few options among many latent options and combinations, and in this respect it resembles nature and culture.
Stellar or ‘Ptolemaic’ astrology involves about 50 stars, too many to make an archetypal set. Astrology systems that include star positions, read them in terms of their angular distance from the spring point (which slowly moves), and of the timing and character of planets crossing their celestial meridians (see a similar mixed grid in the ‘solar system’ crop circle, in the Natural Stoneprints chapter). Some other forms of divination, based on
conventionalized correspondences between stock situations and abstract fields on livers, bowls, boards, spirals, or verses, used with ‘random’ event generators, are also synchronistic (see the Piacenza liver; and African bowls).
Natural aspects of divination, especially planets, perplex our conscious minds, which are prone to assuming conscious, individual and social autonomy in biology and ecology, especially of ourselves as self-conscious specimens and cultures. The fault of conscious assumptions and false logic is not in the stars, but in us. Links between game boards, planets, personality traits, verses (as in the I Ching, Book of Changes), yarrow stalks (a kind of dice), numbers, and events, are among the many side-effects of the holographic unity of the natural and cultural kingdoms.
Typology in myth, art and astrology may seem as artificial and stereotypical, even cartoonish, as soap opera characters, but it is instinctive, and useful to crafts such as ritual and psychology……… [order the book Stoneprint at $30 plus postage  from Four Equators Media, via edmond at syrex dot zo dot za using Paypal ]…………….