Some of Nicholas Poussin’s works are part of the Rennes area mysteries. His father was uncle of Baron Arques, and financial advisor to Couiza’s Duke Anne. Poussin painted two scenes of shepherds at a tomb with Virgil’s Roman epitaph, citing the proverbial Greek Arcadia with its annual fires as metaphor for afterlife, ending thus: “I have sung of pastures, country-sides and leaders, also in Arcadia I lived.” The last phrase became a popular epitaph, implying heaven and hell in life, and in afterlife. This post demonstrates archetypes in Poussin’s ‘Et in Arcadia ego’ painting.
The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount. Abbe Sauniere had contracted artists from Italy to paint commercial casts of statues, dictating some background scenes and revisions, apparently to transpose Biblical episodes into a localised landscape ‘sermon’. Archetypes in the relief group artwork are listed, and compared to three other Sermon artworks (by Gustav Dore, Bloch, and another), in this article from Stoneprint Journal 6.
Typology features of characters in the Indian Parhupati seal, as in all cultures, demonstrate that the five structural layers of expression are subconscious to artists, architects, builders and members of any culture. Early Indian seals compare well to Dilmun seals, partly due to stylistic exchange, but mainly due to universal archetype. General themes in the famous buffalo god Harappan seal include type 6 Exile or Capricornus; of ingress (here of the god), sacrifice, U-shaped (here of two letters, and of horns), volute (here of the podium bases), horned, and double-headed (here of two letters, and the main character).
Lively characters in a roundel on the back of an early Islamic Turkish metal mirror cast found in Iran, expresses the universal subconscious set of character features, sequence, polar markers, and time-frame orientation. After Islam banned figurative characters, calligraphy and geometric shapes took over the role of expressing archetypal structure; however it is difficult to ‘read’ or to demonstrate, for the lack of eyes, postures, items, species, social functions, clusters or groupings of characters.
Four bronze plaques by Cibber, on the four sides Nelson’s Column in Trafalgar Square, London, picture the four main battles of Admiral Horatio Nelson. Each plaque also expresses the standard, universal, subconscious structure of visual art, named mindprint (Furter 2014), as demonstrated below. The structure, unknown to artists and art historians, includes the standard set of twelve to sixteen archetypal features; in the standard peripheral sequence; with their eyes or focal features on an axial grid; and with limb joints or junctures at certain polar points.
This post demonstrates the five layers of subconscious archetypal structure in some artworks by Shawn Thornton, who paints in a style typical of tryptamine-induced visions. Despite abstract shapes, some of the features of the sixteen archetypes, in sequence, with their eyes on the standard axial grid, around the five polar junctures, and the cosmic time frame; appear in all his artworks. There are no structural differences between art associated with coffee, sugar, alcohol, DMT, mescaline, psilocybin, tryptamine, or sober artists.
Author Alistair Coombs argued that some Ice Age engravings support his correspondence theory of the diffusion of attributes of the Pleiades and Ursa asterisms. Mindprint author Edmond Furter demonstrates that correspondences run much deeper than a few hearsay tales. Here is an extract of part of the debate.