Here are some examples of types 12 Leo and 13 Leo, one of which is always the ‘heart’ among the set of sixteen archetypes in the invariable sequence of typological attributes in visual art.
See more examples in other posts, where this type is marked by the label [le12] and/or [le13]. Its place on the ocular (eye to eye) axial grid is always opposite type 5 Aquarius20 or 5 Aquarius21, and always (85% on average worldwide) on the chest (heart as inner eye), instead of the eye, of the character or characters that express type Leo.
Type Leo is sometimes feline (14%, particularly at type 13 Leo), sometimes inverted (11%, particularly at type 12 Leo), sometimes he carries a weapon (10% on average worldwide) as a lord of life and death, and sometimes he is equine (horse; ambiguous with his opposite type 5 Aquarius decan Pegasus, and with type 3 Aries, which is sometimes a horse to express its own attribute of being long-necked).
An African Shiva in a cosmic battle
Type 13 Leo Ursa as the heart of a multi-headed hero or army (South Africa, Albany Alb03 1r rock art panel. Mindprint analysis by Edmond Furter).
See multi-headed healers and horses in Indian art. Among the constellations and decans that also express this type, Leo retro (with its ‘rear’ head on the side facing Virgo) makes a better horse than a lion; and Ursa retro makes a better horse than a bear. However art does not derive from constellations; both derive from archetypal inspiration, and therefore some of the features of myth, ritual, and art co-incide.
Some expressions borrow from others, as astronomy borrows from myth to name constellations, and astrology borrows from myth to interpret seasonal cycles. Visual expression is a function of an integrated set of concepts, and some are incidental with some of the variant stick figures that we animate among incidental dots in the moving sky.
Ursa offered a string of ‘heads’ along its back as polar markers during Age Taurus (see a lion with stars along its back in the Seti 1 ceiling). Ursa was the initial polar torn-off foreleg, as summer to the former spring point at 1 Taurus Hyades (Bull face), and later at 2 Taurus Pleiades, a cluster of seven stars (a small foreleg). Type 14 Cancer Ursa Minor took over the summer foreleg role in Age Aries, and by coincidence also has seven stars, as a smaller foreleg.
5 Aquarius21 here mirrors the posture of its opposite, 13 Leo.
A celestial polar marker on a hip, and on the horizontal plane, tag the inspiration to Age Pisces-Aquarius, our current era. However artworks are mroe often expressed within the temporal framework of the era preceding the artist, or the era when the current culture was formalised.
Sustained co-incidences of many attributes in art, myth, ritual and religion worldwide, due to archetypal inspiration, tempt the relevant sciences into looking for diffusion routes. Thus some academics, and many amateurs, see this multi-limbed figure as made by an Indian, or learned from Indians. Even if the artist had seen an image of a Shiva or a Kali, the attributes of this figure remain rooted in archetype. Hundreds of other examples of these attributes worldwide, such as the large weapon (10% average frequency in art worldwide); and the invisible (and subconsciously aligned) axis from its opposite type to its heart (85% average frequency in artworks worldwide); and the scythe of the emblematic figure of Death in Tarot trump 13; and the horse of similar emblems; and multi-legged horses in myth, such as Odin’s horse Sleipnir in Nordic culture; all indicate that similarities, even as complex as the four-leyered mindprint structure, do not require diffusion, teaching, or learninig. All cultures have equally complex myths, rituals, and art. Beneath apparent differences, and distinctive styling, the core content of cultural expression is identical.
Hearts and minds in a cosmic battle
Type 13 Leo Ursa as the heart of a multi-legged horse or army of a hero (Indian Asuras and Daityas seeking elixir. R Storm; Legends and myths of India, Egypt, China and Japan. Hermes House. Mindprint analysis by Edmond Furter).
See flying antelope (aelites or blying buck) and flying horses in rock art. See Tarot trump 13 as death militant on a horse, and many similar emblems in calendric and other visual traditions.
A celestial pole on a covered foot tags the inspiration to Age Aries-Pisces, probably prior to the work, but indicating the era of the cultural reformation that re-formalised or appropriated the classical styling.
Type 12 Leo as the heart of the outer of four inverted figures, and the outer of four figures before the retro face of a double-headed leonine sphinx, in a partially concentric, contra-rotating double imprint of decans on three registers (Egyptian Book of Caverns section 3, BC 1426. AG Shedid cited in Wim van den Dungen. Sofiatopia. Mindprint analysis by Edmond Furter).
Decans are fairly simple and probably consciously recognised as hours, or reduced to twelve that could also signify months. Here the sequence is boustrophedon (as the ox ploughs, in alternating directions), with a few quirks.
Top register left to right; 3 Aries18 Agnus between two serpents, with the sun as a spring marker. Taurus t2 t17 Pleiades as seven bull men, with a former spring marker. 1 Taurus16 Hyades and Auriga-Orion as mummies under mounds. Galactic gate as three shrines. 15 Gemini in a shrine with strings of ten mummies.
Middle register right to left; 14 Cancer Hydra group. 13 Leo Ursa group as a burial. 12 Leo retro Crater group. 11 Virgo as the sphinx womb. 10 Libra as Amun with a staff.
Lower register oscillating; Central, 9 Scorpius as a shrine snake, 8 Scorpius Ophiuchus and 7g Galactic Centre as a snake shrine. Right is 7 Sagittarius as decapitated Ages (see the Narmer palette at theme 3), left is 6 Capricornus as small supplicants, right is 1 Aquarius as large prisoners, left is 4 Pisces as large supplicants, centre is a 4-5 Pisces-Aquarius Pegasus square.
The outer mindprint is clockwise, sharing four figures from Aries to Cancer, then following eight alternative attributes from Leo to Pisces, incidentally agreeing on 8 Scorpius and 6 Capricornus.
The inner mindprint among figures in the lower two registers, on the right, forms an independent anticlox sequence, agreeing with decans on types 14, 13, 12, 11, 10, then below on 9, 8, (not 7 or 6), 5, (not 4, 3, 2, 1, 15). Some groups have extra figures with relevant attributes at the ready. Outer and inner mindprints converge on 14 and 9.
Dual identifications (the bottom centre figure here carries triple labels) appear in several decanal sets (see Seti1’s ceiling). Decans are prone to great variety (O Neugebauer and RA Parker. See also Aldred). Double imprints may account for confusing variety among decanal sets. Some conscious genius may be added to inspiration here, as also practiced by legendising and historicising mythology and theology.
Decanal sets are examples of schooled inspiration, yet conscious and subconscious sequences live separate lives. No standard set of decans ever emerged.
Decanal art understates the attribute, sequence, structure, polar and orientation features of mindprint.
Celestial polar markers of the outer mindprint, on burial feet and a Sphinx elbow, tag the inspiration as Age Aries, incidental with the spring sun over decanal Aries. Celestial polar markers in the inner mindprint on an inverted foot and knee, confirm Age Aries.
* See a list of all the known attributes of these types, and of all sixteen identified types, with 200 illustrations, in Mindprint by Edmond Furter (2014, Lulu.com).