Archetype in Tarot and crafts culture is subconscious Mindprint typology of sixteen visual archetypes

Tarot trumps re-express archetype, not Petrarch’s love poem

Tarot trumps and other sets of emblems or icons of trades, animals, birds, gods, chaps, letters, spheres or ‘elements’, express cycles of archetypal features, including at least the twelve to sixteen main types. Elaborate sets include four transitional or borderline fields, and four cosmology or ‘galactic’ markers, thus a maximum of 24 characters per cycle. This post offers evidence against Gertrude Moakley’s (1966) theory that Bembo and other designers merely copied and elaborated Petrarch’s six Triumphs of Love, Chastity, Death, Fame, Time and Eternity, into 21 trumps.

Moakley’s conclusion on Tarot trumps origin, is no longer generally supported by Tarot researchers. Some agree that card games came to Europe from China, or via Arabia (Little 2003, citing Farley; Hurley on Pre-Gebelin; strings on LTarot@yahoogroups), and mixed with Crusader chivalry in the process. But apart from traceable stylisation, there is a common cause in myths, rituals, processions, talismans, and game sets. All cultural media express the same archetypal structure or ‘grammar’ of meaning. This post is an extract from the chapter on Tarot cards in the book Mindprint (Furter 2014,, 200 illustrations), adding some text and images.

Tarot decks are typically 56 or 60 or 72, plus about 22 numbered trumps picturing emblems and icons. These have parallels in episodes or situations in myths, seasons and constellations. Yet each cultural medium, including crafts such as games, calendar and divination, equally expresses archetypal inspiration.

Tarot and astrology are academic taboos

Books and esoteric applications based on the Tarot deck have proliferated over 600 years, yet most artists, iconographers, scientists, and even ‘depth’ psychologist Carl Jung, shied away from studying or publishing their findings about this deck. Academic assumptions of the supposed arbitrary and wishful nature of talismans and esoteric crafts, and the necessary admixture of charlatanism in crafts, raised conscious stigmas of talismans as arbitrary and illogical. Yet art, notably rock art and spiritual or religious art, contain and hinge on talismanic elements (Thackeray 2013).

The Tarot deck contains seasonal and decanal elements, like the ‘books of hours’ that once popularised myth cycles, similar to fables, cartoons and movies. The numbered cards and court suites are interchangeable minor cycles, similar to hour decans in calendars (Neugebauer and Parker 1966), but the trumps, triumphs, or exaltations are anchored in eternally recurrent mythical and archetypal clusters of meanings (see the list below).

Tarot books mis-identify seasons, constellations, or ‘signs’

Esotericists continue to graft Tarot trump emblems onto other sets of archetype, and onto zodiac signs, and sometimes on constellations. Yet surprisingly, even astrologers have variously misidentified the constellations that parallel the 22 trumps. One of the reasons for this symbolic confusion, is the quirks in archetype. The four major types could be single or doubled: types 1 and/or 2 Builder, 12 and/or 13 Heart (not relevant to the playing card suite of Hearts), 8 and/or 9 Healer, 5a and/or 5b Priest. And the archetypal number 5 is repeated at its first magnitude (for which the Tarot deck has only one trump, 5 Pope), but doubled at the higher magnitude in base 15/16, as 20 Judgement and 21 World. And only the first seven types are given higher magnitudes, or a second layer, in base15/16, as follows: 0:15, 1:16, 2:17, 3:18, 4:19, 5a:20, 5b:21 (see the typology list below). Thus camouflage of the archetypal identity of Tarot trumps is intrinsic and formidable, but once cracked, they reveal their parallels in myth, ritual, art, calendar, myths and constellations in all cultures.

Type 10 Teacher as Wheel of Life in a Book of Hours

A Wheel of Fortune miniature illustration in a Book of Hours demonstrates autumn or ‘Fall’. Trump 10, Wheel of Fortune, is analogous to constellation Libra, the archetypal host of the autumn equinox, or cosmic balance between the annual ecliptic earth orbit equator, and the daily celestial earth rotation. During Age Aries, autumn was in constellation Libra, up to about BC 80. But in astrology, ‘sign’ Libra always hosts the equinox, as ‘sign’ Aries precesses (moves backward against the seasonal direction) with the spring equinox, irrespective of background constellations. From about BC 80 to AD 2016, the spring equinox and thus ‘sign’ Aries moved backward through constellation Pisces, and recently entered the end of constellation Aquarius (defined by being 90 degrees from both static galactic ‘gates’).

Artworks, including miniatures, and rock art, subconsciously express the same set of archetypal structure in all ages, along with archetypal cosmology. Here is a list of the set of archetypes in a Book of Hours miniature of a Wheel of Fortune (noting some of the known archetypal features).

Wheel of Fortune miniature illustration in a Book of Hours (archetype labels and axial grid by E Furter). This emblem expresses some of the recurrent features of archetype 10 Teacher (balance, wheel, raised arms, staff, etc). It is one of the popular icons of autumn or ‘Fall’ in cycles of seasons, eras, or ‘triumphs’, also expressed in myths, rituals, ‘cartoon’ artworks, and craft sets such as Tarot trumps.

Type Label; Character (archetypal feature):

1 Builder; A king falling (twist, ruin).

3 Queen; A prince (royal) .

4 King; Noble (royal) praying (more typical of 5).

5 Priest; A knave falling (horizontal).

6 Exile; Princess on top.

And the central courtier, near the axial centre (ingress), directing the wheel (’tree’).

7 Child; A courtier.

8 Healer; A courtier.

10 Teacher; A king blessing (arm up).

11 Womb; A courtier, pregnant, her axis to her midriff (womb).

12 Heart; Priest (of 5 opposite 12), axis to his chest (heart).

13c Head; Written tract (weave, oracle).

14 Mixer; A king near the axial centre (ingress).

15 Maker; Fallen emperor (order), under another (double).

00 Axial centre; Unmarked, as usual.

Midsummer; Central courtier’s shoulder (limb-joint).

Midwinter; Central courtier’s jaw (limb-joint).

The ‘solstice’ axle is near the vertical plane, between axes 13-14, analogous to Leo-Cancer, implying spring and the time-frame in Age Taurus-Aries, long before the work as usual.

Tarot trump numbers are archetypal

Tarot numbering may have been a lucky conscious or subconscious guess that ‘felt right’, or may derive from a spiral divination cards layout format that proved its worth to psychics or artists. Numbering may have been simply recognised as implicit in the designs, or extracted from a complex artwork that contained the types, as usual.

The initial problem that led to this study, and to the book Mindprint, was to identify the designer of the Tarot trumps. That question was answered in the finding that all artists express the standard sequence and spatial structure. The question could now be rephrased into ‘who numbered or reconstructed the sequence and numbering of Tarot trumps’. It could be another poet like Petrarch (see below), an artist like Mantegna (who probably did not design the Tarocchini deck variant that bears his name), a printer in Basel or Marseilles or Germany, or an alchemist or esotericist in the iconographic hothouse of the early Renaissance. If the ‘source’ of the numbering were identified, the name and work would probably just add to very long list of everyone who subconsciously expressed, and still express, archetypal structure. No indication of conscious recognition of the sequence of archetypes could be found, despite diligent search among artworks, built sites, myths, legends, rituals, alphabets and craft sets of all cultures. Nor did any author ever list, or claim to have, a ‘Periodic table’ of archetypes that apply to nature and culture, before 2014.

Type 10 Teacher as Wheel of Life in a Durer engraving

Albrech Durer’s Wheel of Fortune miniature engraving with the angel of Time, a fox, and six iconic birds, demonstrates life cycles, and autumn or ‘Fall’, one of the popular icons associated with seasons and ‘triumph’ cycles. Artworks, including icons and miniature designs, subconsciously express the same set of archetypal structure in all ages, along with some subconscious spatial cosmology. Here is a list of the set of archetypes and cosmic junctures in Durer’s engraving of a Wheel of Fortune (noting some of the known archetypal features).

Albrecht Durer; Wheel of Fortune woodcut engraving print with six birds, turned by the angel of Time and a fox (archetype labels and axial grid by E Furter). Types 14 Mixer is analogous to Temperance, or Angel of Time, and to Cancer. In this miniature she also expresses type 15 Maker, or Gemini. The eagle opposite expresses their two axial opposites.

Type Label; Character (noting archetypal features):

2 Builder; Pheasant (bird, cluster), climbing (twist) on a turning wheel (build/ruin).

3 Queen; Magpie (neck bent), crowned (queen), on top (spring).

4 King; Jay-bird (bird).

5b Priest; Fox (hyperactive), turning (assembly) in reverse? (invert).

5c Basket Tail; Wheel (disc) rear handle (‘tail’, ‘tree’). C-types are off the axial grid, but between specific axes.

6 Exile; Eagle, also expressing 7 (‘double-head’).

7 Child; Eagle, left eye, invisible (‘eyeless’).

7g Gal.Centre; Eagle wing (limb-joint).

9 Healer; Peacock.

10 Teacher; Falcon (hunt-master), claws upward (‘arms’ up). The icon of a wheel, or carousel of animals, often with a canid, is part of the optional features of type 10 Teacher.

11 Womb; Midriff (womb) of Temperance. The features of this type include law (here of life cycles), and tomb (her implied death), and library (here written labels. The original German is translated by the author).

13 Heart; Chest (heart) of Temperance, a virtue (angel). The features of this type include death (here implied by Fate), rounded (wheel), invert (cycle).

14 Mixer; Time (time) angel (angel), turning fate (transform) as a wheel (‘tree’) with birds (bird). Her inner eye, while the outer expresses type 15.

15 Maker; Time turns (churn) fate (order), shown frontal (face), with a fox (canid). Her other eye (doubled) expresses type 14. Some types share an axis in some miniature artworks (Furter 2019; Stoneprint Journal 5; Archetypes in seals, stamps and miniatures).

15g Gal.Gate; ,,,, (juncture, limb joint).

00 Axial centre; Unmarked as usual.

4p Gal.S.Pole; Jay-bird’s foot (limb-joint).

11p Gal.Pole; Time angel’s elbow (limb-joint).

Summer; Pheasant’s wing (limb-joint).

Winter; Wheel hub (juncture).

These polar triangles place the summer marker between axes 15-2, analogous to Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius. This transitional framework is somewhat ‘prophetic’ for the late Age Pisces artist, but a typical subconscious feature of works intended to perpetuate a legacy. Further study of Durer’s icons may reveal more about this work. Parallel features in other media, would in turn reveal more about icons and archetypes (see the global average percentage of known recurrent features in Mindprint 2014,

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Types by trumps, constellations, and functions

Archetypal sequence follows laws of energy and matter that differ from the neatly directional, sequential, cyclic and base10 world that our conscious minds believe us to live in. Here is a table of the set of archetypes, how Tarot trumps express it, and how constellation lore (not ‘signs’) express it (noting known archetypal features in brackets).

Type Label; Trump (archetypal features), Constellation (archetypal features):

1 Builder; Juggler (twist), Taurus Orion (hero)

1:16 Builder; Tower (ruin), Taurus Auriga

2 Builder; Priestess (rain), Taurus Pleiades (rain)

2:17 Builder; Star (rain), Taurus Perseus (twist,hero)

3 Queen; Empress (queen), Aries Andromeda (queen)

3:18 Queen; Moondogs (dragon), Aries Cetus (ovid, dragon, neck)

4 King; Emperor (king), Pisces Pegasus(rect.), Cepheus(king)

4:19 King; SunTwins(sun,twin), Pisces fish/birds (garden)

5 Priest; Pope (ritual), Aquarius (ritual, horizontal)

5a:20 Priest; Judgement(judge), Aquarius waterbearer (bless,judge)

5b:21 Priest; World (ascend), Aquarius Pegasus legs (equid)

6 Exile; Choice (sacrif.), Capricornus (caprid)

7 Child; Chariot (chariot), Sagittarius (centaur)

8 Healer; Strength (strong), Scorpius tail (bent, ‘heal’)

9 Healer; Hermit(trance,bent), Scorpius(strong), Ophiuchus(strong)

10 Teacher; Fortune(wheel,force), Sc.Claw(‘arm’), Bootes(arm), Serp.(snake)

11 Womb; Justice (law), Virgo (womb), star Spica (crops)

12 Heart; HangedMan (invert), Leo retro (felid, invert)

13 Heart; Death (death,weapon), Leo(felid,scythe shape), Regulus(heart)

14 Mixer; Temperance(time,mix), Cancer(carapace), Beehive(transform)

15 Maker; Devil (re-make,rope), Gemini (double)

15:0 Maker; Jester (bag), Gemini (double).

Moakly’s Tarot diffusion scheme

Bembo’s deck of trumps designed for the Sforza-Visconti couple, is the model for later Tarot decks. Gertrude Moakley (1966) saw Bembo’s 22 trumps as elaborated from a game of Triumphs with only six trumps, modelled on processions of religious festivals, and on naughty carnival procession mockery, and on knightly tournament processions, and on Petrarch’s poem of his unrequited love for noble Laura.

[Tarot?]   Petrarch’s triumphs:

[10/06?]   P1 Love as Cupid v gods and men.

[11/07?]   P2 Chastity v Love, as Laura’s ladylike rejection.

[12/08?]   P3 Death v Chastity, as Laura dies of Black Death.

[13/08?]   P4 Fame v Death, as Laura’s reputation lives on.

[14/09?]   P5 Time v Fame, [as Laura’s reputation wanes].

[15:0/10?] P6 Eternity v Time, as Laura’s love in afterlife.

Moakley proposed that Bembo, and the ‘Mantegna’ and Florentine Minchiate decks, had extracted these characters from Petrarch’s poem to become Tarot trumps (Tr):

Tr Character ‘from Petrarch’ (after Moakley 1966):

01 Juggler   of Love [money?] ‘Or carnival king’s meal’

02 Priestess of Love [spirituality?]

03 Empress of Love [domain?]

04 Emperor of Love [power?]

05 Pope    of Love [religion]

06 Lovers  of Love [body]

07 Chariot  of Chastity [unmotivated]

08 Justice  of Chastity [should be 11]

09 Hermit   of Time     [out of group sequence]

10 Wheel    of Chastity [contradiction]

11 Strength of Chastity [should be 08]

12 Hanged of Death

13 Death  of Death

14 Time   of Chastity, crutches [duplicates ‘9’]

15 Devil  of Death

16 Tower  of Death [but Time stars?]

17 Stars of Hermit [time]

18 Moon of Hermit [time]

19 Sun  of Hermit [time]

20 Fame of? (Minchiate only), trumpets [‘20’ assumed]

21 World of Hermit, eternal, four creatures [monastic?]

But critics (Little 2003; Hurst, and others) argue that Moakley’s conclusions are flawed, and that her scheme does not demonstrate the canonical sequence. Some commentators use the term ‘conflated’. Zodiac signs and four elements are not in Petrarch’s pattern. The ‘Mantegna’ deck has allegories from other texts. There seems no reason to assign [7] Chariot to Chastity. A Traitor, and Fire, find no parallel. Tarot trumps are not as ribald as Feast of Fools of Ship of Fools emblems (see the example below). Some Petrarch illustrators placed [8] Strength’s staff or club with [6] Cupid, or [14] Temperance’s cups with [6] Cupid, or cast the Pope and Papess as pagan Jupiter and Juno, or replace [7?] Chastity with her enemy [10] Fortune, or reduce [14/9] Time to attendant of [13] Death, or omit [5:20] Fame, or reduce [15:0] Eternity to a number, or show [13] Death as an old hag, not a skeleton.

Petrarch, whose cycle of poems on triumphs of phases of love was illustrated by ‘triumphal’ carts or icons, among the models for Tarot trump designers. Image after Laphams Quarterly.

There is now some consensus that Petrarch’s poem, and illustrators, and Tarot cards, were parallel expressions of early Renaissance mytho-poetic conventions. The present study (Furter 2014; 2016) demonstrates that all cultural conventions, including crafts sets, express archetype, and that the Tarot trumps do so in sequence, and by archetypal numbers, and with seven trumps overlapping the first seven numbers as their higher magnitudes in base 15/16 (as in the table above). Critics differ on whether Moakley’s book had any impact on Tarot users, who shared their esoteric fantasies about ‘ancient’ origins, even after evidence of medieval precursors became commonly available on the Internet (Little 2003).

And academic researchers keep their ‘developmental’ fantasies about ‘diffusion’ of ‘ideas’, even after J.G. Frazer demonstrated that all the detailed motifs of myths were present worldwide; and C.G. Jung demonstrated that dreams in all cultures repeat mythic themes; and Claued Levi-Strauss demonstrated underlying structures in behaviour; the Aarne-Thompson-Uther (ATU) catalogue numbered clusters of motifs in folk legends; and publication of the recurrent subconscious expression of archetypal structure in the art, rock art, built sites, icons and alphabets of all cultures, in two books, the anthropology journal Expression (see Sources below), four websites, and six magazine editions. The anthropology model is summarised in the recent paper Blueprint (Furter 2019, on

Wheel of Fortune miniature woodcut illustration in an edition of the first best-selling book, Ship of Fools, by the workshop of Michael Furter in Basel (archetypal axial grid by Edmond Furter). The axial grid is always between eyes, with a standard deviation to one heart and one womb, here both of the donkey-person on the left. Following the tradition of popular broadsides, the comics and ‘tabloids’ of their day, the book’s hilarious text and illustrations made humour of iconic conventions in expensive, exclusive, pious and didactic books in private collections.

Tarot trumps 8 Strength and 11 Justice were swopped

Popular archetypal sets typically contain some error, but are also typically revised, which often rectify ‘copyist’ errors. Among Tarot trumps, the sequence error concerns trumps 8 Strength and 11 Justice. In the Tarot Marseilles sequence, trump 8 Strength (type 8 Healer, trance, spiritual strength, or Scorpius), and trump 11 Justice (type 11 Womb, crops, or Virgo) became swopped in one variant. There is no inherent natural ambiguity between these two types (as there are between types 3, 4 and 6, particularly regarding the feature equid, or horse). There is also no ambiguity between their parallel myths or constellations. The variant is probably due to an ‘authoritative’ error in that became copied. Intuitive rectifying of this sequence error, is noted in a short article on Tarot trumps in Stoneprint Journal 4; London stoneprint tour (

Moakley, in her brief introduction to Papus: Tarot of the Bohemians, translated by Waite (Arcanum Books), noted her dismay at popular ‘occult’ fictions and ‘ancient origins’, but accepted modern myth as worthy of study: “Literal facts about the Tarot cards are probably quite different from the occultist account. But this brings us again to another veiled darkness: the unconscious motives of those who… use symbols only to add to the amusement and excitement of a Carnival game. We may then accept the occultist tradition as a valid myth, a solemn way of stating a truth symbolically with such imaginative force that even its authors at first always mistake it for the literal truth… [The Papus book is] useful to anyone who wants to study as a cultural phenomenon this modern instance of what Robert Graves has called ‘iconotropy’ [iconic chaos v conservation, or diffusion]… despite T.S. Eliot’s remarks about “wild-goose chases after Tarot cards.” Her remark is ironic. If icons were copied and re-copied as Graves and herself thought, then entropy or chaos would soon change them beyond recognition. The study of the cause of universal recurrence, and retention of the essential core content of cluster of meanings, was overdue since the Periodic table brought order to alchemy and chemistry. Natural and cultural sets are equally rooted in archetype.

Wheel of Fortune miniature illustration in a didactic or ‘teaching’ Book of Hours (image after Pre-Gebelin. Archetypal axial grid by E Furter). The axial grid is always between eyes, with a standard deviation to one heart and one womb, here of the wheel turner in the foreground. Three giant figures manipulate or guide the wheel turners and riders, like archetype sets bounds to nature, culture and behaviour, including myth, art, ritual and meaning itself.

Layers of expression

Spiritual, religious and cultural craft art is understood in academia to be based on hallucinations that are “construed in trance”, recalled and “no doubt formalised as they were painted.” (Lewis-Williams and Pearce 2012). However ‘formalisation’ of buck bags, sky ropes, flying people, falling buck, half humans, saurian antelope and such surreal features, does not require artists, or their clients or society, to understand these forms. These forms do not necessarily directly represent the implied hallucinations, but are filtered through perception and the media of re-expression. Inspiration may resemble lucid dreams, and may not even be primarily visual. Most healers are not artists, and most artists are not healers.

Archaeologists acknowledge that sacred art is ritualised, but persist, in the words of M Biesele, in explaining art and ritual in terms of “communally held beliefs” being “operationalised… adding to the store of people’s knowledge”, while some motifs in art “do not become the source of many more paintings.” This study could not find cumulative nor dead-end motifs. Mindprint implies the very opposite of these conclusions of random, incidental and vetoed expression. Our collective subconscious and nature, thus archetype, are the sources of the sets of features, their sequence, and axial spacing of the eyes of the characters that express them in art.

Art, rock art, and all cultural media, are not individual or cultural, nor trial and error, nor bounded by a “set of beliefs” built on a supposed store of spiritual “knowledge”. Artistic and mythic structure is not a function of knowledge, but sustained by perpetually renewed inspiration.

Lewis-Williams and Pierce see iconography as “the significance of images for their makers… impossible to study without an iconographic baseline and social context of the imagery.” They call for adducing ethnographic (mythic) and lexical (conscious) meanings, from neuro-psychological and other evidence to guide a theoretical and methodological framework to explain San rock art. Mindprint offers these meanings, frameworks and methods in sixteen limited sets of features, and a simplistic, standard geometric structure, with endless close affinities to nature and culture, and truly endless examples in the cultural record.

The book Mindprint demonstrates 200 in art and cork art, and lists 400 more in an appendix, since extended to built sites, alphabets and hieroglyphs (the last two media are demonstrated in Furter 2019; Blueprint, on; and on Academia; and on Researchgate; and on Academia). A dictionary of artistic and iconographic typology and structure is overdue, but no faith or set of “beliefs” are required.

This study is enabled by conceptual unity, as well as the principle of partial and imperfect expression. Where one sequence of icons, symbols, myths or gods may omit, underplay or overplay a type, others fill in, to specific average quotas worldwide. Culture itself functions by disunity, traceable by ‘tacks’ among its artefacts, as Wylie (1989) demonstrated to be valid in archaeology.

Culture is inherently standardised

The main ingredients of the most elusive aspects of culture, being aesthetics, beauty and inspiration, were thought to be indefinable, infinitely mutable, independently created, supported only by high culture, transfused, learned and fragile. They now appear to be highly standardised by subconscious impulse, unlearned, robust, and accessible to any prodigy or peasant anywhere. All it requires is an eye, mind, hand, canvas, and charcoal, or an episode to re-tell, or an occasion to ritualise, or a site to build on.

Cognitive archaeology denies archetypes in rock art, and does not gather or apply visual iconographic data, apart from conscious symbols provided by the available myths of the culture of the painters. Presuming that artists enter trance in expectation of certain experiences, and record largely culturally expected visions, cognitive archaeology expects healers to find what they consciously expect to find, and the science itself does not find what it believes the artists do not expect to find. “San religious beliefs and experience was constrained, or framed, by the individual image-maker’s intellectual and social milieu,” wrote cognitive archaeologist David Lewis-Williams (2012 p78). Science denies that people and cultures participate in a collective or universal subconscious. Yet conscious contact with the symbolic and collective subconscious realm is one of the causes, effects and aims of ritual, and particularly of art.

Popular anthropology fictions

Popular culture consumes spiritual experience as a type of adventure tourism or escapism. Most popular anthropology or ‘ancient mystery’ writers trade in archetypes, without addressing or even mentioning archetypes. Some popular writers start from the premise of an ancient super race (Malkowski 2010. Hancock opus). Some start on the super race or space ‘contact’ premise (Robert Temple; Sirius mystery), then migrate to an academic view (Robert Temple; Netherworld). Most academics start from the opposite premise, of an ancient primitive race blessed by evolution. Some academics migrate to an appreciation of the complexity of primitive cultures (Thackeray 2013). The middle ground where these mutable academic and popular paradigms should meet, remains elusive due to paradigmatic taboos.

Layers and haloes of meaning

Jung noted the formulaic nature of art in his approach of circumscription (finding relevant meanings or ‘signatures’ in dreams) to diagnose and prescribe appropriate myths, on the assumption that outer and inner experience and health determine their own spheres of meaning. Jung scoured peripheral meanings to reveal core meanings, confirmed in this study by the finding that each type includes a halo of related meanings.

Heidegger wrote that “a poet or thinker with his moral legein grants a world for a nation to live… by responding to the logos of earth, sky and gods… The framing-in of a world is a work of the founding physis, carried by mythos and spelled out by poetry… If we think we are interpreters, we steal from ourselves. Interpretations remain translations in different words, not revelations of truth and meaning.” This view applies to the meanings conventionally readable in Camoens, Picasso, Brink, Coetzee and all moralising (in the broad sense of the word) artists. This view is also relevant to the conventional meanings of spiritual texts. The arts translate the universe into a microcosm of the human subtext. The language of art, however, may well extend beyond interpretation, and thus reveal truth and ultimate meaning. The fault of occlusion is not in our art, books or eyes, but in our minds that we cannot understand the full meaning of what is in front of our eyes.

Compulsive inspiration

Subconscious expression in the service of spiritual inspiration is unerring, despite ardent search in this study for defective, contradictory or absent types, or misplaced geometric elements. We are hard-wired to see and express scenes in this way, and equally disposed to deny that we do so and to fancy ourselves thinkers of original thoughts and painters of original scenes. Art is our intimate hologram of infinitely varied scenes, populated by myths and legends, hidden in plain sight in galleries, museums and books, locked behind our equally hard-wired conscious paradigms of what history, myth, astronomy, archetypes and art should be.

An artwork is not done until all the figures of the inspiration are positioned in their allotted spaces, in addition to, or perhaps despite the less exacting function of making some immediate conscious sense to the artist and likely viewers. In the context of archetypal expression, the perpetual dictum of ‘art for art’s sake’ acquires new meaning. Whether other people would see it, or understand it, or use it in initiation, seems of lesser importance than its completion. Apparent chaotic overwork in some rock art and abstract art around the world indicates a predominant inspiration and expressive impulse, at the cost of recording or communication on a conscious level.

  • Order the book Mindprint by Edmond Furter (2014, 272 pages, 200 illustrations, A4, perfect bound, $16), from on:

  • Some Stoneprint Journal editions are also available on
  • Order the book Stoneprint, demonstrating collective subconscious expression of archetypal structure in buildings and built sites worldwide, on email from Four Equators Media, via edmondfurter at gmail dot com at $/e250 plus postage from Johannesburg, South Africa.

Some references

Allen, R.H. 1899 Star names and their meanings. Lost Library, Glastonbury

Boeyens, J.C.A; Thackeray JF. 2014 Number theory and the unity of science. S African J. Sc. 110

De Santillana G., Von Deschend H. 1969 Hamlet’s Mill: An essay on myth and the frame of time. Boston: Gambit

Edinger, E. 1991 Anatomy of the psyche: Alchemical symbolism in psychotherapy. Open Court

Finkel, I. 2007 Ancient Board Games in Perspective, Brit Museum Press

Furter, E. 2014 a. Mindprint, the subconscious art code.

Furter, E. 2014 b. More examples of structuralist art analysis.

Furter, E. 2015 a. Gobekli Tepe, between rock art and art. Expression 9, p21-25. Atelier Etno, Italy. Also in Expression book Rock art: Where, When, Why, to Whom,2015 Nov

Furter, E. 2015 b. Art is structural magic, not illustration. Expression 10, p15-21, Dec. Atelier Etno, Italy. Also in Expression book ,,,,,

Furter, E. 2015 d. Structuralist rock art analysis. Association of Southern African Professional Archaeologists, ASAPA. In press 2019, University of Zimbabwe, Harare

Furter, E. 2015 e. Mindprint in mushroom, psiclocybin, peyote, mescalin, sugar, and chocolate art.

Furter, E. 2016 a. Abstract signs in art are shorthand for cultural structure. Expression 13, p42-53. Ed. Anati, E. Atelier Etno, Italy. Also in Anati, E; Meaning of abstract signs.

Furter, E. 2016 b. Colonial artists re-style the same characters. Expression 14, p38-47. Atelier Etno, Italy

Furter, E. 2016 c. Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg

Furter, E. 2017 a. Pregnant is the most consistent typological gender. Expression 15, p19-24, Atelier Etno, Italy

Furter, E. 2017 b. Stoneprint Journal 1; Pictish beasts ‘zodiac’. July. Four Equators Media, Johannesburg

Furter, E. 2017 c. Stoneprint Journal 2; Crop circles are natural artworks. Four Equators Media, Johannesburg

Furter, E. 2017 d. Recurrent characters in rock art reveal objective meaning. Expression 16, June, p54-62. The message behind the image. Atelier Etno, Italy. Also in Expression book 25, 2019.

Furter, E. 2018 a. Stoneprint Journal 3; Paris stoneprint tour. Four Equators Media, Johannesburg

Furter, E. 2018 b. Stoneprint Journal 4; London stoneprint tour.

Furter, E. 2018 c. Stoneprint Journal 5; Culture code in seals and ring stamps.

Furter, E. 2019 a. Stoneprint Journal 6; Rennes le Chateau stoneprint tour.

Gombrich, E.H. 1960. Art and illusion: a study in the psychology of pictorial representation. Princeton. Princeton University Press.

Hurst, M.J. [Tarot history]. http://www.Pre-gebelin

Jung, C.G. 1912, 1953, 1979. Symbols of Transformation; IN Collected Works Vol. 5, transl R Hull, Editor Herbert Reed, M Fordham, G Adler; ed, McGuire. Bollingen Series XX. Baltimore. Routledge & Kegan Paul

Jung, C.G. 1934, 1954 Archetypes of the collective unconscious. CW

Jung, C.G. 1950 Synchronicity; an a-causal connecting principle, treatise

Jung. C.G. 1959. The archetypes and the collective unconscious. Translated by RFC Hull. Editor Herbert Read, Michael Fordham, & Gerhard Adler. New York. Pantheon Books

Leach, E. 1970 Claude Levi-Strauss. University of Chicago Press

Lewis-Williams, J.D., and Pearce, D.G. 2012. Framed Idiosyncrasy: method and evidence in the interpretation of San rock art. SA Archaeological Bulletin 67, pp 75-87. Johannesburg. SA Arch.Soc.

Little, T.T. 1999; 2003. Moakley 101. http://www.Luxlapis


Malkowski, E.F. 2010. Ancient Egypt 39 000 BC, Civilisation X

Moakley, Gertrude. 1966. Tarot cards painted by Bonifacie Bembo for the Visconti-Sforza bemily, an iconographic and historical study. New York Public Library /Emily Ellsworth Ford Skeel Fund /Astor, Lenox and Tilden Foundations

Neugebauer O., and Parker R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. Providence. Brown University Press

Temple, R. 2002. Netherworld. London. Century

Thackeray, J.F. 2013 Principle of sympathetic magic in the context of hunting, trance and S. African rock art. SA Arch.Soc, Digging stick, April. /Inst. for Human Evolution

Tresidder, Jack. 1997 /1999. Watkins dictionary of symbols. London. Watkins

Wylie, A. 1989. Archaeological cables and tacking: the implications of practice for Bernstein’s options, beyond objectivism and relativism. In: Philosophy of Social Sciences 19, March, vol 1, pp 1-18

Yates, Frances. 1972. Rosicrucian Enlightenment. London

culture is subconscious mindprint in modern art

Denver Airport Extinction art reveals our enviro bio-ruin

Artist Leo Tanguma’s large mural paintings at Denver Airport are themed on apocalyptic bio-warfare, destruction, and the struggle between Fascist and peaceful world orders. The Denver-based Chicano combines symbolism from history and mysticism, with American socio-political issues from his hybrid perspective, by 1900s Mexican political muralist techniques. This design was said to picture the 2001 9/11 terror attacks, but the airport had opened six years earlier. Archetypal features explain the similarity. One of the general themes in his Extinction artwork is revealed by extra features of type 2 Builder, typical of twisted postures (here of four characters), cluster (of plant and animal species), bird (four species), tower (city in the background), build (or cultures), ruin (fire and pollution), hero (preservation workers), book (Torah in coffin C), or spring (flowers).

Another general theme in Tanguma’s Extinction painting at Denver Airport is revealed by extra features of the four transitional types: 2c Basket v 9c Lid, and 5c Tail v 13c Head. Their fields (transitional types do not have their eyes on the axial grid, but are spaced between specific adjacent axes), are typical of woven texture (here 5c’s textile cloak), containers (glass boxes, coffins, carapace), hats (four headgear), arm-links (cradling animals or figurines), trees (here burning), or revelation (here of environmental extinction). The Denver Extinction of environment, animals and cultures panel, is juxtaposed by two panels on Peace and Harmony With Nature, dramatising bountiful and diverse life. 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.

Leo Tanguma; Extinction painting, at Denver International Airport, Jeppesen Terminal Level Five (image after Travelgumbo. Archetypal labels and axial grid by E Furter). The display juxtaposes his panels on war, and children making world peace.







Type Label; Character (noting archetypal features):

2 Builder; Buffalo (bovid) head, stuffed.

2c Basket; Parrot (bird) in glass box (container), held by (arm-link) an African woman. And elephant tusks (weapon, cluster).

3 Queen; Girl with a squirrel.

4 King; Jewish girl in coffin (rectangle) holding Torah including Genesis.

5a Priest; White leopard (varicoloured, felid of 12 opposite), dead (horizontal), left eye.

5b Priest; White leopard (varicoloured, felid of 13 opposite), dead (horizontal), right eye.

5c Basket Tail; American Indian woman in woven cloak (weave) in coffin (container), her head on leaves (herb), with animal (tail) god figurine.

6 Exile; Geometric person image (small) on American Indian woman’s cloak, further from the centre (egress).

7 Child; African woman in coffin.

9 Healer; Turtle (disc) lying flat (bent forward).

9c Basket Lid; Turtle carapace (disc, lid, hump).

10 Teacher; Purple parrot in flight (arms up).

11 Womb; White woman’s midriff (womb). And pelican in glass box (interior). And Sperm whale (water).

12 Heart; White woman’s chest (heart).

13 Heart; Chinese boy.

13c Basket Head; White woman with glass box (lid).

14 Mixer; Asian girl, near the centre (ingress), warning of extinction (time), at burning trees (tree).

15 Maker; African girl holding glass box (bag?) with bird.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Leopard’s jaw (limb-joint).

11p Gal.Pole; White woman’s left hand (limb-joint).

Midsummer; Asian girl’s shoulder (limb-joint).

Midwinter; Leopard’s hip (limb-joint).

The solstice markers are on the vertical plane. These polar triangles place midsummer between Leo and Cancer, implying spring and the cultural time-frame in Age Taurus-Aries.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

  • See another Denver Airport panel by Tanguma, named Order of Chaos, on
  • Order the book Mindprint by Edmond Furter (2014, 272 pages, 200 illsutrations, A4, perfect bound, $16), from on:

Some Stoneprint Journal editions are also available on



Mindprint in ayahuasca art mindprint in modern art Mindprint in peyote or mescaline art

Rudy Gutierrez’ musical art therapy

Artist Rudy Gutierrez illustrated music album covers for jazz, rock and reggae artists (John Coltrane, Gerald Albright, Roy Hargrove, Pablo Moses). He also painted the Jimi Hendrix 2014 memorial postage stamp, and many book covers. His painting of a guru or music producer with a collage of musicians is typical of his dynamic and multi-sensory, surreal style, sharing many features with ayahuasca and DMT art, such as spirals and vines. Structuralist analysis against the archetype model of universal subconscious expression, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this Gutierrez work.

Gutierrez sees art as therapy, visual art and music as connected, and is anti-drugs, like DK Dyson. He is also an arts academic and teacher. The dominant general theme in the Musicians painting is revealed by extra features of type 10 Teacher, typical of raised arms (here of all ten characters), staff (flower stalks and guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’). Another general theme is the polar triangles, typical of limb-joints (here raised arms, and active postures).

Rudy Gutierrez; Guru and musicians (after Abduzeedo. Archetypal labels and axial grid by E Furter). His multi-sensory surreal style shares many features with ayahuasca art. Archetypal analysis demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this work.

Type Label; Character (noting archetypal features):

2 Builder; John Coltrane (hero) with trumpet (twist).

2c Basket; Geometric (weave) bird. And guru’s ear (maze).

3 Queen; Guru’s left eye.

4 King; Guru’s implied third eye.

5a Priest; Guru’s right eye (‘priest’, hyperactive, assembly), pouring water (water).

5b Priest; Musician?, face frontal, sits on a sunflower.

5c Basket Tail; Two sunflower (weave) heads (plant, disc).

6 Exile; Bryan Adams or Bruce Springsteen, on a rose flower (tree).

7 Child; Whitney Houston points at her palm (unfold), on a throne (chariot?).

7g Gal.Centre; Whitney Houston’s hands (limb-joints).

9 Healer; Bob Dylan (trance?) leans (bent forward).

9c Basket Lid; Stream (weave, reveal) from guru’s hands.

10 Teacher; Beads? (school?) and heart shadow in guru’s hands (arms-up).

11 Womb; Diana Ross?’s midriff, pregnant (womb) in a flower (crop), in the stream (water).

12 Heart; Diana Ross? In the stream (water-work).

13 Heart; Barbara Streisand’s chest (heart), in a flower.

13c Basket Head; Barbara Streisand. And Sunflower spiral (weave).

14 Mixer; Aretha Franklin, pointing (dance?), in a flower (tree).

15 Maker; Carlos Santana with guitar (sceptre), in flower bud (bag).

15g Gal.Gate; Rose heart (juncture) on chain (rope of 15). And trumpet (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Unmarked, probably on the vertical plane.

11p Gal.Pole; Barbara Streisand’s hand (limb-joint).

Summer; Rose boy C’s hands (limb-joints), and source of swift birds (limb-joints).

Winter; Angel? (limb-joints) and end of swift birds (limb-joints).

The solstice axle is on the horizontal plane of the axial centre, confirming summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. This ‘era’ is confirmed by the types of the main character’s left eye and implied third eye, in the top central position.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

  • See a painting and poster by the lesser recognised Frank Gutierrez in a post on
  • See articles on, and examples of the archetypal structuralist model analyses, in the book Mindprint, the subconscious art code (2014), and editions of Stoneprint Journal, available on and in bookstores linked to Lulu.


archetype Archetype in rock art art

Churn of re-creation also in African rock art

The iconic surreal churn of life and spirit, or interchange between matter and energy, is recognised in Indian art and myth as a milky ocean of soma related to a former spring equinox (Furter 2014). This motif also appears in some inspired rock art worldwide, as in this rock painting in Nanke shelter in Zimbabwe. The infinity wimple here expresses the same meaning, as a totality of responses to external pressures, named ‘panarchical discourse’ in history (Gunderson et al 2009), or ‘phase transit’ in chaos theory 3D graphs. Nanke was one of a set of traditional oracles, on par with Bronze Age and classical Greek, Egyptian and other sites. In addition to semi-conscious icons and visions, all complex rock art works also express archetypal structure (see the rock art analysis below).

Roman spiritual centres such as the oracle of the dead at Baia, in the volcanic Bay of Naples near Rome, also had paintings at their entrances; likewise destroyed (Paget 1967; Robert Temple 2003) to re-appropriate spiritual authority. This post demonstrates that one of the many unschooled surrealist rock paintings in the Matobo range, express the same archetypal features as all complex artworks in all cultures.

The dominant general theme in this Nanke shelter rock painting is type 15 Maker, typical of ropes (named ‘rope of the sky’ in San myth and in rock art), churn (here the central character), or re-creation (here nature, animals and people). Another general theme here is the adjacent type 15g, of limb-joints, here part of the ‘churn’ motif (see the introduction above). Another general theme in the work is type 10 Teacher, typical of raised arms, staff, hunt master, ecology, or school.

One of many example of archetypal structure in rock art (Zimbabwe, Matobo range, Nanke Cave. After Parry 2012. Type labels and axial grid after E Furter 2014, 2019).

Type label; Characters in the Nanke cave ‘churn’ painting (noting archetypal features):

1 Builder; Shoulder-head of rope-man churn (twisted), leaning on staffs (trance, of 8 opposite).

2 Builder; Rope-man churn (twisted) (NO EYE).

2c Basket; Shoulder-head rear, ropes (weave). C-types are usually off the grid.

3 Queen; Ostrich (long neck).

4 King; Antelope cow?, with young.

5a Priest; Antelope running (active).

5b Priest; Bowman spanning (active).

5b Priest B; Priest? (ritual?), axis on his chest (heart, of 13 opposite) and three with beams (horizontal).

6 Exile; Antelope (horned). And swimmer (ingress).

7 Child; Swimmer or walker.

7g Galactic Centre; Swimmer, arms up (limb-joints?), staff (of 10). Some apparently interrupted artworks indicate that visual expression spirals out as bags or limbs (named ‘formlings’ in archaeology) from this junction.

8 Healer; Swimmer in churn centre (strong?), at rope-man’s legs (pillars).

9 Healer; Swimmer? (NO EYE).

9c Basket-Lid; Fish pool churn wave (weave, lid).

10 Teacher; Swimmer (arms up?).

11 Womb; Pregnant womb (womb).

12 Heart; Runner?

13 Heart; Lion (felid), axis on chest (heart, confirmed by 15-14-13 flat outline).

14 Mixer; Dancer (dance), arms up, staff (of 10).

15 Maker; Antelope between two ropes (rope).

15g Galactic Gate; Antelope rump (limb joint).

Axial centre; Unmarked as usual.

4p Galactic S. Pole; Small bowman’s feet? (limb-joint?).

11p Galactic Pole; Bender’s shoulder (limb-joint).

Midsummer (cp); Churn’s front elbow (limb joint), on axis 14-15, implying spring and the cultural time-frame as Age Aries-Pisces, probably the perceived era of cultural formation. But midwinter (csp) could be on the churn’s hip (limb joint), on the axis 5, implying spring and the cultural time-frame as Age Taurus, typical of alchemical works in all cultures, and supported by the centrality and prominence of types 1 and 2. Structuralist time-frames are widely approximate, not exact in conscious terms.

Vishnu churn after the Mahabharata (tracing after De Santillana 1969. Type labels and axial grid after Furter 2014). Ropes, churn, canids and doubling express the general theme of types 15 and 15g, re-creation and incarnation.
  • See the stoneprint structuralist anthropology model, theoretical basis, data sources, examples in several media, conclusion, and references, in the paper Blueprint, in a post on


Archetypal structure in mushroom or psilocybin art and fairy art mindprint in modern art

Lindy Kehoe’s Serendipity Circus art of surreal meaning

Artist Lindy Kehoe’s child-styled artwork Serendipity Circus, pictures a semi-visionary dynamic, innocent and joyful moment of children and animals on rowdy, surreal parade in a garden. Her illustrative style is similar to Mark Chagall. She told Mindprint Art: “Chagall has represented a brother to me, in the dream-like trance state I experience when I paint, and when I saw his works first-hand. I have a deep fascination with tracing our hidden roots in etymology, and unveiling patterns and codes that flow from creation and creatives in the collective.” Some time ago she wrote of being ‘immersed in my own mythology… alive in a living story… attempting to weave the fabric of an old tapestry… wanting to be seen, heard, remembered; a story-keeper… to tell a Lemurian fairy-tale of heaven and earth… bringing alive the mythos of others through illustration… to conceive guardians we need, to protect our innocent courage… [in] the multi-dimensional holographic landscapes of dream-time.’

Lindy Kehoe; Serendipity Circus. The artwork subconsciously expresses a high level of integration among nine of the sixteen archetypal themes, typical of visionary or trance artists. her style is similar to Chagall, whom she visualises as a ‘brother’ (after and IG lindy_kehoe_art, with permission. Archetype labels and axial grid by E Furter).

Type Label; Character (archetypal features):

1 Builder; Peacock (bird) on one leg (twist). And cat E.

2c Basket; Vine (weave) with pods (containers, cluster). And cats A, C, and D. And peacock feathers. And trumpet (container). C-types are off the axial grid, but between specific axes.

3 Queen; Tree-cat B (queen?) tall (neck long).

4 King; Vine leaf–eye A, one of two (twins).

5a Priest; Leaf eye.

5b Priest; Rabbit, violet (colour, not counted here due to abundance) with cymbals (priest, hyperactive) leading parade (assembly).

5c Basket Tail; Rabbit’s cymbals (discs). And rabbit fluffy tail (tail).

6 Exile; Tortoise (reptile).

7 Child; Snake (‘rope’, unfold).

7g Gal.Centre; Dog’s forepaws (limb joints, path).

8 Healer; Dog (canid) jumping (bent forward).

9c Basket Lid; Red fly agaric mushrooms (disc, lid) of trance (trance, reveal). And mushrooms (disc). And sea star (lid).

10 Teacher; Seed pods? And dog-tail (canid) as a serpent (snake), waving a stick (staff) in parade (carousel).

11 Womb; Mother giraffe midriff (womb).

12 Heart; Drummer clown child marching.

13 Heart; Mother giraffe chest (heart).

13c Basket Head; Elf (oracle) child with cap (hat, lid) picking inverted vine (tree). And candy-striped mountain peak cap. And cats G and H.

14 Mixer; Trumpeter (time, see Midsummer marker below) marching (dance), with feathers (angel) and peacock (bird) and banner, near the centre (ingress), left eye. And cat F.

15 Maker; Trumpeter marching (rampant, order), large face (face), right eye, with feathers (winged), with banner (sceptre, order). And heart on banner staff (sceptre) with motto (order). And sun face (face).

Axial centre; Trumpeter’s elbow (limb-joint).

4p Gal.S.Pole; Standard staff base (juncture).

11p Gal.Pole; Drummer child’s jaw (limb-joint).

Midsummer; Trumpeter’s jaw (limb-joint).

Midwinter; Unmarked. The solstice axle is on the vertical plane. These markers place midsummer between 14-15, analogous to Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces, typical of many works made in Age Pisces, particularly towards the end of Age Pisces (which ended in 2016).

Some themes interlock

Kehoe’s Serendipity Circus artwork has an unusually large number of general themes, indicated by extra features of nine types:

3 Queen, typical of long necks (here seven cats and a giraffe), spring (garden);

4 King, of sun, bird, field;

5 Priest, of colours, ritual (parade), hyperactive, assembly, reptile (tortoise, snake), winged (two birds, trumpeter’s feathers);

6 Exile, of horns (caps, and cats’ vine-horns), reptile (tortoise, snake), tree (garden);

7 Child, of bag (two flags), juvenile (two children, young animals);

8/9 Healer, of pillars (tree-cats), disc (turtle, sea-stars);

10 Teacher, of raised arms (of rabbit, two children, dove and elf child), staff (two flag-posts), hunt-master (noise flushing out animals), guard (parade), ecology (fauna and flora), carousel (parade circle);

14 Mixer, of time (serendipity in the title), transform (trumpeter as bird, animals as musicians), tree (garden), felid (many cats), reptile (turtle, snake), dance (parade);

15 Maker, of rampant posture (marching), or order (flags and parade).

Yet another general theme is the four transitional fields, off the axial grid but between specific axes:

2c Basket, of weave (here feathers and vines), instrument (trumpet, drum, cymbals, flags), hat (caps, bells); and its opposite 9c Basket Lid, of discs (cymbals, turtle, sea-stars);

5c Basket Tail, of trees or herbs (garden); and its opposite 13c Basket Head of oracles (sigil on the tortoise back).

Expressing a large number of general themes is typical of visionary, trance, mescaline, psilocybin, ayahuasca or DMT art, often at the cost of leaving some individual character features at minimalist levels. Thematic integration indicates artistic and probably individual maturity.

General themes reveal that nature and culture tend to re-use certain slightly ambiguous features (particularly reptile, bird, felid, horns) in expressions of overlapping themes; while other ambiguous themes, such as equid, are reserved for other works.

  • Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
  • See similar themes and styling in mushroom or psilocybin art in other posts on
  • See similar themes and styling by Chagall in forthcoming posts.
  • See archetypal structuralist analysises of artworks in styles associated with mushrooms, child cartoons, sugar or candy, fairies, mescaline, ayahuasca, and DMT, on and on
mindprint in modern art

Durer’s Melancholy expresses archetypal ambiguity

Albrecht Durer’s emblematic and allegorical engraving of Melancholia, has inspired many interpretations. Its minimalist design uses several objects, particularly scientific instruments, as ‘characters’. Esoteric multimedia artist William Blake had a print of this engraving all his life (Word and Silence 2019). Blake’s own artworks also tended to be emblematic and structuralistically minimalist (Furter 2014). Durer’s Melancholy contains only four living characters (woman, cherub, dog, bat); far fewer than eleven, and thus outside the scope of structuralist analysis (Furter 2014, 2016). But minimalist artworks such as seals, cylinder seals, stamps and jewels, express all five layers of natural and cultural structure by using some items and limb-joints, which usually express polar markers in more complex workss (Furter 2018; Stoneprint Journal 5; Culture code in seals and ring stamps).

Durer’s engraving of Melancholy expresses several general themes, as indicated by extra features of several types, attached to several types. These features also happen to be part of the optional features of several types, and thus archetypally ambiguous: rectangle of types 4 or 15g; furnace or smelt or metal of types 4, 9, 10; disc of types 9,10; building or pillar of types 1v8; school or teacher of types 3v10; laws and crafts of type 10, 11; reptile of types 3v10 or 14; canid of types 9, 10, 14 (see a similar subconscious play on ambiguity in subconscious features of Henry Holiday’s illustrations for Lewis Carroll’s Hunting of the snark, in a post on General themes in Durer’s melancholia include;

4 King; squat (here of both humans), rectangle (magic square), sun (in view), furnace (crucible).

9 Healer; pillar (here the cube, building, and city), smelt (crucible), trance (meditation).

10 Teacher; arms up (here wings), staff (here dividers), metal, disc (millstone), school (crafts).

11 Womb; womb (here the prominent woman, and the sphere), water (here a bay), law (sciences and crafts), library (crafts skills).

14 Mixer; time (here an hourglass, and Temperance), transform (alchemy), angel (two humans), reptile (bat), canid (dog).

Transitional types 2c 5c 9c and 13c Basket, is the strongest general theme here, typical of instruments (here a workshop), revelation (sciences and crafts), disc (millstone, and implied by dividers), planet (sun in view), and metal (crucible and tools).

Ambiguity is a general archetypal theme, typically expressed in emblematic artworks (as in Babylonian, Indus and Egyptian seals), and by esoteric minimalist artists. Recent revelations that Indus seals function as rebus logos for metallurgy suppliers and traders ( deserve more study to examine how some writing conventions came to be used with double meanings. Below is a structuralist anthropology analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019), noting its structuralist deficiencies, mainly for replacing eyes by other focal points.

Structuralist archetype model analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019). Minimalist artworks often use items as characters.


Type Label; Character (archetypal features):

2 Builder; Hourglass nail on the building (tower); time as accomplisher (build) and unraveller (ruin). NO EYE.

2c Basket; Scales pan B (instrument, container, arm-link or pivot-link).

3 Queen; Scales pivot (more typical of 10 opposite 3). NO EYE.

4 King; Sun (sun). And cherub sitting (squat). He also has polar functions (see 4p and Midwinter below).

5a Priest; Bat (reptile, winged, hyperactive) with banner (sash) and tail (tailcoat head), under rainbow (colours).

5c Basket Tail; Crucible (container). And cube with tetrahedron removed. Hammer. Dog tail (tail). And lamp?

6 Exile; Dog as lamb of God (sacrifice), curled ( U-shape). Canid is more typical of 14 opposite.

7 Child; Tongs rivet ‘eye’ (eyeless). The shape is more typical of 8.

7g Gal.Centre; Planer (juncture). And saw (juncture).Mallet or inkpad? (juncture). And foot (path).

9 Healer; Divider point A (bent ‘forward’, implied disc) of steel (metal). NO EYE.

9c Basket Lid; Purse (‘lid’, reveal).

10 Teacher; Divider point B (metal, ‘arms’, ‘staff’, implied ‘disc’).

11 Womb; Woman’s midriff (womb) or Science (gestation of knowledge).

12 Heart; Woman’s chest (heart).

13c Basket Head; Woman’s head (head) with wreath (weave, tree, hat), of Science (oracle).

14 Mixer; Woman as Temperance (time, angel) or Alchemy (transform) or the vice Melancholy (passing time); near the centre (ingress).

15 Maker; Bell attachment (churn?) with a rope (rope).

15g Gate: Magic square (grid) of 34. A grid is more usual between 15 and 1, here displaced to between 14 and 15.


22 Axial centre; Unmarked as usual.

4p Gal.S.Pole; Boy angel’s jaw (limb joint).

11p Gal.Pole; Woman’s hip (limb joint). More often inside the outline of types.

Midsummer (cp); Woman’s jaw (limb joint).

Midwinter (csp); Boy angel’s heel (limb joint).

The solstice axle is near the horizontal plane. These markers place midsummer in types analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre, expressing the central themes of time and balance. The time-frame is before the work, as usual. A Taurid time-frame is typical of alchemical works.

The analysis score is 25/68 archetypal features; 6/16 axial eye points; 13/4 c-type sector features; 4/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 6/2 general themes; thus 59/100, minus 0 extra characters off the axial grid; total 59%, close to the general average of 60%. Some excessive scores reveal that the current formula is adequate only if the indicated ‘maxima’ are ignored; and if excesses are considered as compensation for the impossibility of full scores in other structuralist layers. Thus the current analysis scoring formula requires further refinement.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Mindprint in ayahuasca art

Eugenia Loli’s Nirvana art peeks into a tower of subconscious revelation

The dominant general theme in Eugenia Loli’s Nirvana artwork is revealed by extra features of type 1 /2 Builder. Its optional recurrent features include cluster (here people and planets), tower, building (here a vault or symbolic subconscious, as recognised by the Builders of the Adytum), hero (rope climber, astronaut, scientist, explorer), book (implied science and library), spring (shadows southward towards green fields), maze (staircases to space-time), and pit (vault). Compare this design with Tarot trump 16, Tower struck by lightning, often shown with scientists and measuring instruments blasted off by lightning of subconscious inspiration. A higher magnitude of 1 is 16 in base-8, an archetypal system often used in natural media (see Furter 2016; Stoneprint p74-81, including atomic numbers in the Periodic table in spiral format after Peyroux).

Type 1 /2 axial opposite is type 8/9 Healer, where optional recurrent features include strength (here the climber and astronaut), pillar (several), heal (implied by levels of consciousness, and maturing students), disc (protractor), smelt (atom), and trance (surrealist style). Between axes 2-9 and 3-10, lie the transitional fields of 2c Basket and 9c lid, whose optional features include weave (here a plant-nest, and atomic orbitals), instrument (telescopic viewers), container (cube), hat (climbing helmet, space helmet, spinning top ‘hat’, and exploration pith helmet), secret (space-time perspective), and planet (here five). Extra expressions of transitional types, and of types 5v12/13, is typical of art styled after ayahuasca, DMT and other hallucinogen visions.

In this work, all the other types, and the polar junctures in the centre, are also strongly expressed, without the direct knowledge of the artist of the five layers of archetypal structure, as usual. Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork. The ‘Three minutes’ in the title, is analogous to the three planes of space and time in cosmology; and the planes of consciousness of Ego-Shadow, Anima and Self.

The artist sees trials and technology as ‘evolution’

The artist wrote that her theme here is ‘the journey of humanity towards a higher state of being. The building and universe are all we could comprehend in human form… In the process, and part of progress, is war and misery. The cube is a teaser of the ultimate prize, placed by ascended people on the top level. The second level is about expanding our horizons towards enlightenment. The woman in black is ready to make the leap. The man on the staircase tries to call her back, but too late. Two people attempt to reach the third level, one climbing, one using trans-human space technology’.

Terence McKenna had a similar view of technology as part of human ‘skin’ (see posts on Ayahuasca oracle of the dead as counter-cult, on

Loli continues: ‘The climber and the astronaut would both evolve beyond human. The trophy in the cornice between painted angels, is just a trap, since climbers would have to leave behind vices, delusions, limitations and pride. Most never manage that. A skull is hidden in the flying spaghetti monster flower. At the very top, ascended people wait for newcomers to see the bigger picture beyond time and space.’

The presence in Loli’s work of all five levels of archetypal structure, as they are present in artworks and rock art works of the Ice Age, Younger Dryas, Bronze, Iron and modern eras, ironically contradicts the general assumption of ‘evolution’. But the need for individual maturity is part of the rationale of every human life, and perhaps of life itself. This artwork, and the archetypal ‘grammar’ within it, thus raises the unresolved issue of the extent of ‘evolution’.

Eugenia Loli; Three minutes to nirvana (after with permission. Archetype labels and axial grid by E Furter). The work subconsciously expresses about 83% of the currently known archetypal structuralist features; an unusually dense expression for art, but common in complex, psychedelic, New Age, ayahuasca or DMT art where theme, design and inspiration are highly integrated.

Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork.

Type Label; Character (archetypal features):

1 Builder; Ascended or ‘evolved’ group (cluster) seeing the vault (pit) of several levels (tower, built, maze).

2c Basket; Tropical plant (weave) hanging like a nest (container, throne), holding a skull (monster, as of decan star Algol).

3 Queen; Spinning top, UFO or hat (more typical of 10 opposite, or 9c).

4 King; Venus or planet, its axis to its centre (womb, more typical of 11 opposite).

5a Priest; Earth (colours, hyperactive, assembly, water, large).

5b Priest A; Explorer (hyperactive) calling back the woman from leaving.

5b Priest B; Explorer’s second axis (hyperactive) on chest (heart, of 13 opposite).

5c Basket Tail; Air exit (maze).

6 Exile; Child A (small) using viewer (double-head) in U-mount (U-shape).

7 Child; Child B (juvenile) viewing fire vortex (unfold).

7g Gal.Centre; Fire vortex (vortex, juncture).

8 Healer; Child C using geometry projection (‘strong’, ‘pillar’) at protractor (disc) to imagine (trance) an atomic (smelt) cube.

9c Basket Lid; Atom (disc, reveal) with orbitals (weave) in a cube (lid, instrument) levitated by child (armlink). And protractor (disc, lid, instrument).

10 Teacher; Child D operating viewer (arm up, school).

11 Womb; Woman scientist (law), axis to her midriff (womb) in monument (interior) with cosmic knowledge (library), leaving the vault.

12 Heart; Woman scientist leaving or rising.

13 Heart A; Respirator case (‘heart’) of astronaut (angel).

13 Heart B; Astronaut’s (angel) chest (heart) and tanks (rounded).

13c Basket Head; Astronaut’s head (head) and helmet (hat, lid).

14 Mixer; Rope (more typical of 15) climber between spaces and times (time, transform, angel).

15 Maker; Cornice angel or genie (re-creator) in a pair (doubled, churn, order) at a trophy cup (more typical of 14).

15g Gal.Gate; Sun over vault opening (juncture). And a skull (more typical of 15).


Axial centre; Unmarked, as usual.

4p Gal.S.Pole; Unmarked.

11p Gal.Pole; Woman or scientist’s shoulder (limb-joint).

Midsummer or celestial pole (cp); A pillar capital (juncture).

Midwinter or celestial south pole (csp); A pillar base (juncture).

The solstice markers are on a vertical plane. These polar triangles place midsummer between Gemini and Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the presence of three types 5 (5a, 5bA, 5bB), which is analogous to Aquarius. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

The tentative structuralist analysis score is 45/68 archetypal features; 16/16 axial points; 12/4 c-type sector features [excessive scores are counted, to compensate for other fields where full scores are impossible due to inherent optionality]; 3/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 84/100, minus 1 extra character off the axial grid; total 83%. This total is above the upper average margin of the sigma curve of about 35% to 75%. See another unusually detailed expression of known archetypal features, in structuralist analysis of archetype in Marc Alexander’s artwork Prophetic antics, in a post on

See other posts on how to identify archetypal features in any artwork or built site or other cultural media, on


archetype culture is subconscious Stoneprint in site maps

Subconscious blueprint in Teotihuacan art and site plan

Structuralist analysis of Aztec murals, and the site plan of the ‘Sun’ and ‘Moon’ pyramids and maze of buildings at Teotihuacan, reveals the usual five layers of subconscious structure at several levels of scale. Treasures found in the cave starting under the Rain god’s temple, add mythic and ritual features to the layers of archetypal structure.

Teotihuacan mountain stream mural

Structuralist analysis of an apparently random or chaotic Aztec mural at Teotihuacan, reveals the usual five layers of subconscious structure. Several types are expressed by two characters on the same axis, and by extra adjacent axes (notably types 5a and 5b, here labelled Aq5,20 and Aq5,21). The four Heart axes are in the mountain stream, a conical but watery hill with waterfall and cave. In the site map below, see type 2 Builder (here labelled Ta2 for Taurus2), as Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster). See the Underworld notes below. Types 11 Womb and 12/13 Heart (here Vi11, Le12, Le13) are in the centre of this watery caved hill. In the site map (below), type 11 Womb is at the centre of the ‘Moon’ pyramid, and types 13 Heart (Le13) are at the centre of the ‘Sun’ pyramid. As usual, structuralist correspondences are not consciously intended, but arise from archetype.

Water hill mural at Teotihuacan, in the Tepantitla, near type 5b or Aq5,21 on the map. After Wikimedia. Calendric labels with archetypal numbers (see the site map list for detail), and axial grid by E Furter.



Leo sun and Virgo moon on Teotihuacan pyramids avenue


Teotihuacan pyramid field (after Rene Miller. Calendric labels and archetypal numbers, and axial grid by E Furter). North is 15.5 degrees left of top. Most other maps of this site are inaccurate.

The sequence of archetypes in Teotihuacan pyramid field is (noting globally recurrent, archetypal features with analogous calendric labels):

1 Builder or Taurus1; Feathered Serpent (bird) temple’s east forecourt.

2 Builder or Taurus2; Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster. See Underworld notes below).

2c Basket; Feathered Serpent’s court.

3 Queen or Aries3; Feathered Serpent’s west temple.

4 King or Pisces4; Feathered Serpent’s west forecourts, four rectangles.

5a Priest or Aquarius5,20; Very large court (large).

5b Priest or Aquarius5,21; A temple or palace.

6 Exile or Capricornus6; Small pyramid, far from the centre (ingress /egress).

7 Child or Sagittarius7; A quartered cluster.

8 Healer or Scorpius8; North complex.

9 Healer or Scorpius9; Palace of Quetzalpapalotl annexe.

10 Teacher or Libra10; West temple of ‘Moon’ pyramid.

11 Womb or Virgo11; ‘Moon’ pyramid core (womb).

12 Heart or Leo12; Palace of Jaguars (felid).

13 Heart or Leo13; ‘Sun’ pyramid core (heart).

14 Mixer or Cancer14; ‘Sun’ pyramid south temple, near the invisible axial centre (ingress).

15 Maker or Gemini15; Double structure (doubled).

15g or Gate; Moat (path, water) or boundary.

Axial centre; On the central avenue edge (juncture), at the ‘Sun’ pyramid enclosure SW corner (juncture).

Galactic axle (pG and pGs); Diagonally across the middle part of the central avenue (which is 15.5 degrees east of north), at about 19.5 degrees east of north. These angles derive from tetrahedral and spherical geometry, involving the irrational fraction pi.

Midsummer or Celestial Pole, pC; On the ‘Sun’ pyramid corner (juncture), about due east-west (‘horizontal’) from the invisible axial centre. This polar marker places the structuralist abstract ‘summer’ between types 13-14, in the sector of the half-type 13c Basket Head, analogous to Leo-Cancer months (labelled Le13 and Cn14). Thus ‘spring’ and the time-frame is in Age Taurus-Aries (always 90 degrees before midsummer), indicating BC 1500, before the work as usual. This subconscious ‘dial’ at the fifth level of subconscious archetypal expression, is always approximate, particularly when expressing Age transitions. In Aztec myth, the Fifth Sun manifested at Teotihuacan. More study of site features, as they are revealed by excavation, could reveal or contradict some archetypal features.

Underworld in Teotihuacan’s Rain Bird cave

A tunnel under the Feathered Serpent pyramid (see type 2 Builder in the list above) has thousands of treasures left as ritual dedications about 17m underground (Chavez 2004). Items include crystal eyes, spiral shells, metal spheres, and a miniature mountain landscape model with tiny pools of liquid mercury representing lakes as a kind of underworld. The walls of the tunnel were rubbed with powdered pyrite (fool’s gold) to imitate galaxy stars. A cluster of items is typical of type 1 and/or 2 Builder, analogous to the Pleiades and Hyades star clusters in Taurus, due to the common archetypal origin of cultural media. The tunnel passes below the nearby great plaza, from type 2 Builder, which recurrent features include caves (see the Appendix. See the Seven Sleepers cave of Ephesus in the Europe chapter). The tunnel also runs under type 2c Basket of Mysteries, which is often expressed as a hidden container, a secret, or delayed revelation. One end of the tunnel has three chambers with many items (cluster), including four greenstone figurines carrying bundles of objects, pendants, and pyrite mirrors, probably calendar characters. Watermarks confirm that the plaza above was flooded to imitate the sea of re-creation, with pyramids as metaphorical mountains re-emerging. Some theories (see propose that surface ponds may have acted as quake and volcanic detectors, since earth tremors resonate best at latitudes north or south 19.5 degrees.

In the Feathered Serpent pyramid (type 2 Builder, or Ta2), above the surface, were remains of about 100 warriors, kneeling with hands bound behind their backs, probably sacrifices (type 2 features include twisted postures). In the tunnel are many fragments of Storm god figurines, typical of type 1 Builder or Ruiner (labelled Ta1), perhaps ritually smashed to imitate or to cancel his destructive element. His features include lightning and underground waters, perhaps including volcanic lava (while the adjacent type 2 Builder more often expresses rain and mud-brick or adobe building). These cultural features may support Mayan geology science theories of ponds used as seismographs.

Palace of the Jaguars (type 12 Leo or Heart on the map) includes this mural of a jaguar (felid, analogous to decan Ursa retro) blowing a conch shell trumpet (type 11g, analogous to the Galactic Pole). Rain god Tlaloc’s three ’stars’ express three poles; the galactic pole before the shell, ecliptic pole above the shell, and celestial pole over its back.
archetype art culture is subconscious mindprint in modern art

Poussin’s Arques tomb; Archetype lives also in Arcadia

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 (see another post; Joyeuse, palace of privilege, romance and tragedy). 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: “Mantua gave birth to me, Calabrians raped me, Parthenopa (Pozzuoli, Oracle of the Dead at Naples) comes back to me now. 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 afterlife.

To Spanish nobility, southern France was an underworld, south of the Pyrenees, towards infidels, illiterate backward Christians mustering forces, and Africa. Arcadia seems the opposite of cities, yet Delphi’s rural oracle became a densely built precinct of temples, embassies and treasuries. The Roman oracle of the Dead on the Bay of Naples became enclosed by Rome’s elite suburb (Paget 1967). The French arcadia in the Razes has a reputation for rebels, such as Spaniards, Cathars and Templars.

Nicholas Poussin: Et in Arcadia ego (after Electra2zeiss. Type labels and axial grid by E Furter). Poussin and Blake are among artists who expressed mindprint by fewer than eleven characters in some works, using limb joints instead of eyes (Stoneprint Journal 5; Seals). In minimalist or abstract works, limbs on the ‘galactic’ equators are near circular, as here, and in Boudet’s map (p16). Poussin’s landmarks are near Arques and the French meridian: left Bucharach; central 13 Blanchefort (see a photo of Blanchefort from a low angle, in another post, Rennes les Bains stoneprint tour).

Nostradamus visualised graves and treasure here (see Rennes les Bains 3; and, Rennes le Chateau 11 and 11p, in other posts). The Midi canal from Thau on the Mediterranean, via part of the Aude at Carcassonne, to the Garonne at Toulouse, for small cargo barges of wheat, wine and wool, was studied by Augustus, Nero, Charlemagne, François I (who paid Leonardo Da Vinci for a survey), Charles IX and Henry IV; built under Louis XIV and finance minister Colbert, whose colleague Fouquet, a friend of Poussin, hinted at his lucrative secret in a letter, perhaps a canal solution.

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Update 2020: Copies of Stoneprint Journal 6; Rennes le Chateau stoneprint tour, 2019,, 20 pages, including eight pages in full colour, including a loose insert of an extract in French, is now also available on mail order from Amsterdam, inclusive at Eur/$15 via Paypal and email to Edmondfurter at gmail dot com

In ‘Travels at Rennes le Bains’, Labouisse-Rochefort (1832) again saw an Arcadia here. Jules Verne referred to this area in some of his novel codes. The Two Rennes is now a theme park for treasure hunters, fakers, conspiracy theorists, and researchers trying to separate fact from fiction. The Two Rennes live out two lives; eking out a rural living, and amusing tourists with the promise of a few cracks in the wall of legends and codes.

Legends and spiritual passions outnumber physical remnants and history here. But history and legends now enable revelation of the standard layers of subconscious expression of archetypal structure, and thus conscious access to our collective behaviour. Semi-conscious symbols are part of innate, natural, archetypal culture.

Arques castle (Postcard scan: Belcaire Pyreness).

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Rennes le Chateau’s Sermon on the Mount mural is archetypal therapy

The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount, to newly chosen Apostles, and a crowd west of Galilee, perhaps at the Horns of Hattin, an east-west ridge near Capernaum. Abbe Berenger Sauniere chose this scene for the theme of spiritual healing and ascension.

The western direction, and flowers, indicate spring or autumn sunset, perhaps from Rennes hill, with Casteillas left, and Couiza right (see Rennes le Chateau map 6 and 11). Some authors see it as Bains (11) Mt Cardou; or the Rose Line meridian through Bains, just west of the Paris Meridian; or Violets Hill between the two Rennes (see Bains map 1); or Mt Bugarach; or Roziers Hill. The scene could also be Lavaldieu hill, on the south between the two Rennes, on axis 3 of both.

General subconscious themes in the mural include type 2c Basket, here expressed by Christ; and its opposite, type 9c Lid, here as the bread bag of St Germaine, a girl from a nearby village. She used miraculous flowers in midwinter to hide a bread she had stolen for a beggar, a miracle of physical and spiritual healing. Another general theme in the work is type 5 Priest, here expressed by boy A, perhaps a future priest, Sauniere himself, with the other boy as his brother Alfred, also a priest.

The inscription below reads, “Come to me all who suffer and are overwhelmed, I will comfort you,” from a sermon of Bernard of Clairveaux, after Mat11;28. The cure requires a small task; “Come to me all that labour and are heavy laden, I will give you rest. Take my yoke on you, learn of me, I am meek and lowly in heart, find rest for your souls. My yoke is easy, my burden is light.” If St Magdalene is the woman weeping over Christ’s feet, she is a model of cure and service, since Christ had cast seven devils from her (Luk7;37), enabling her to anoint with tears and ointment. She was present at his crucifixion, a global exorcism of sins. She anointed his body again at the tomb. She saw him risen on Easter Sunday. In local legend she continued the Judaic royal line in France. Magdalene and her ointment vase in art, often expresses type 1/ 2 Builder (see emblems, such as Tarot trump 2, Priestess, Wisdom under a veil between two pillars. See the Types, trumps and hour decans table, in another post). Here her head is under Christ’s cloak. The risen Christ’s hand is now her ‘vase’ (type 2c Basket, container). The sermon is on eight spiritual blessings.

Sauniere had contracted artists from Italy to paint the commercial casts of statues and Cross stations, dictating some background scenes and revisions (Smith 2018), apparently to transpose Biblical episodes into a localised landscape ‘sermon’.

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Update 2020: Copies of Stoneprint Journal 6; Rennes le Chateau stoneprint tour, 2019,, 20 pages, including eight pages in full colour, including a loose insert of an extract in French, is now also available on mail order from Amsterdam, inclusive at Eur/$15 via Paypal and email to Edmondfurter at gmail dot com

Rennes le Chateau church back wall relief group of Christ’s Sermon on the Mount (photo after Massagot. Type labels and axial grid by E Furter). Abbe Sauniere had ordered ‘about twelve figures’ from Giscard of Toulouse. Each character expresses some archetypal features, confirmed by the positions of their eyes on an axial grid, as in all complex artworks.



Type label; Character (noting archetypal features):

[]1 Builder; St Magdalene (priestess), on one knee (twisted), weeping (rain).

[]2c Basket; Christ’s cloak (cover).

[]3 Queen; Christ (sacrifice, spring), preaching (school) spiritual blessings.

[]4 King; Mary (queen), kneeling to touch Christ’s garment. NO EYE.

[]5a Priest; Boy A. Perhaps St Germain and St Sulpice churches as ‘sons’ of St Vincent de Paul; or Sauniere himself and his brother Alfred, also a priest; or Bains and Rennes villages.

[]5b Priest; Boy A’s chest (heart, of 13 opposite). Transfer from a sketch to deep relief sculpture, may have moved this axis from the eyes of boy B and the father, to boy A (more reliefs should be tested).

[]5c Basket Head; Father of two boys (St Vincent de Paul?), with a crutch (leg posture).

[]6 Exile; Mother of a girl and a baby.

[]7 Child; Baby (juvenile) in swathing (bag), eye off the grid (common at 7).

[]8 Healer; St Germaine (see Rennes church floor 6, in another post), kneeling (bent forward), her apron with bread (healer) or gold (metal).

[]9c Basket Lid; Apron bag (container).

[]10 Teacher; Bread bag or gold (metal), torn (9c revelation). Wheat is more typical of 11. NO EYE.

[]11 Womb; Reclining wife’s midriff (womb) under her hands, probably pregnant.

[]12 Heart; Wife’s chest (heart).

[]13 Heart; Wife. And husband’s chest (heart).

[]14 Mixer; Husband, far out (egress).

[]15 Maker; Young man with an arm wound (more often leg wound; see Rennes church floor 15 St Rock statue, in another post). 

[]Axial centre; Christ’s right foot (limb-joint).

[]4p Gal.S.Pole; Unmarked, or displaced to Mary’s elbow (limb-joint). MOVED?

[]11p Gal.Pole; Wife’s elbow (limb-joint).

[]Midsummer; Christ’s left foot (limb-joint), horizontal (orientation) from the axial centre, on axis 14-15. This marker implies that spring and the cultural time-frame is on axis 3-4, analogous to Age Aries-Pisces, the era at the start of Christianity. Artworks and building sites usually reflect the time-frame prior to the work. Structural layers of expression are subconscious to artists, architects, builders and members of any culture.

UPDATE: Structuralist art analyses of other Sermon on the Mount artworks, including Bloch and Dore

Sermon on the Mount print that may be the model for Giscard’s design (image after L’Independant. Axial grid and type labels by E Furter).

The mindprint in all artworks is structurally identical. The number of archetypal characters differ (usually twelve, fourteen, sixteen, eighteen or twenty); the characters differ (although some of their features usually (60% average) include one or two of the archetypal features specific to the type they express in the work; the direction of rotation may be in either direction; and the orientation of the subconscious structure differs (the top central type, or the position of the seasonal markers).

Sermon on the Mount by Bloch, 1877 (image after Wikipedia. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).

Sermon on the Mount by Gustav Dore (image after Creationism. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).


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