Categories
culture is subconscious mindprint in modern art Stoneprint buildings and cities

Structuralist art analysis of Cibber’s battle plaques on Nelson’s Column

Four bronze plaques by Cibber, on the four sides of 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, still 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 at certain polar points.
Comparison of structuralist analyses of the four sculpted and cast plaques, reveal the same minimalist level of design complexity, with one or two compromises towards the conscious programme in each panel.

Conscious and archetypal characterisation are also minimalist here, indicating that the four works are elements of one installation. Any structuralist assessment (or assessment of structuralist art analysis against what they revel of these plaques), should thus include all four.

The inherent time-frame of the four panels differ, indicating separate design phases. Apparent variety in design, even in works focussed on the same person, in four similar situations, demonstrate how conscious preoccupations camouflage the identical spatial structure and optional core content in artworks worldwide.
Cibber made a maximal expression of archetypal structure in his other major public commission in London, the Great Fire Monument west plaque, themed on rebuilding. Any structuralist assessment of Cibber (or assessment of structuralist art analyses against what they reveal of Cibber), should thus include the Fire plaque (see a separate post on that artwork).

This edition is available from Lulu.com (24 pages, $18), on this link:  http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html. Students and lovers of art and rock art should order it with the book Mindprint (Lulu.com, 264 pages, 200 illustrations, about $29).

Battle of Trafalgar plaque

Battle of Trafalgar plaque on Nelson’s Column, Trafalgar Square, London (Cibber. Typology and axial grid by ED Furter). Here Nelson is type 6 Exile or Capricornus (sacrifice). His empty admiral’s cap is type 1 Builder or Taurus, a structurally weak point, but still making subconscious sense. The typology is listed adjacent.

Type label; Character (archetypal features):
1 Builder or Taurus; Capt Hardy’s grip on Nelson’s hat.
2c Basket; Nelson’s hat (container), emblem of a clover?
3 Queen or Aries; Capt Hardy looking back (bent neck).
4 King or Pisces; Sailor A.
4p Gal.S.Pole; Sailor A’s mouth (limb joint).
5a Priest or Aquarius; Sailor B in top hat (varicoloured) carrying Nelson.
5b Priest or Aquarius; Musketeer. Same axis as 5a.
5c BasketTail; Black (varicoloured, of 5) musket loader.
6 Exile or Capricornus; Nelson dying (sacrifice), near the centre (ingress), bullet in the spine, symbolised by the cannonball dent in the mast (tree) above him.
7 Child or Sagittarius; Sailor kneeling to carry Nelson.
8 Healer or Scorpius; Officer crouching (bent forward).
10 Teacher or Libra; Sailor dead (arm V-posture).
11 Womb or Virgo; Cannoneer ’s midriff (womb).
11p Galactic Pole: Captain’s hip (limb joint).
13 Heart or Leo; Cannoneer’s chest (heart, weapon).
13c Basket Head; Cannon.
14 Mixer or Cancer; Cannoneer, nearer the axial centre (ingress).
15 Maker or Gemini; Sailor raising a sail (bag) by rope (rope) with another (doubled).
15g Galactic Gate; Captain’s loudhailer.

The ecliptic pole is unmarked as usual. The celestial pole is on Capt Hardy’s shoulder (limb-joint). The celestial south pole is on a kneeling sailor’s mouth. These markers are off the horizontal plane, but place summer in Taurus, thus spring and the cultural time-frame in Age Aquarius, ahead of the era of the Age Pisces work, but consistent with London as a progressive city. Cibber’s other major public work is the Great Fire Monument plaque, expressing the usual conservative time-frame, but the conscious theme of rebirth and cosmic Ages. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.

Battle of St Vincent plaque

Battle of St Vincent plaque (Cibber. Typology and axial grid by ED Furter). No females are present, so the types 11 Womb or Virgo are on the ‘wombs’ of the men who also express type 13 Heart or Leo’s heart. The typology is listed adjacent.

Type label; Character (archetypal features):
2 Builder or Taurus; Admiral Nelson.
2c Basket; sail cover (container, weave).
3 Queen or Aries; Sailor A, looking up (long neck).
4 King Pisces; Soldier with two swords (twins), also expressing type 5a Priest or Aquarius (varicoloured, hyperactive).
4p Gal.S.Pole; Nelson’s elbow (limb joint).
5c Basket Tail; Rope coil.
6 Exile or Capricornus; Sailor B holding a spar (tree).
7 Child or Sagittarius; Sailor B’s hand on a sail (bag).
7g Galactic Centre: Bloodied sail on a spar (juncture).
9 Healer or Scorpius; Sailor wounded by a spar.
10 Teacher or Libra; Doctor (arm V-posture).
11 Womb or Virgo; Noble’s midriff (womb).
11p Galactic Pole: Noble’s shoulder (limb joint).
12 Heart or Leo; Noble’s chest (heart), presenting a sword (weapon).
13c Basket Head; Sailor with a hook?
14 Mixer or Cancer; Sailor top left, far from the centre (egress).
15 Maker or Gemini; Captain (order) conferring with an officer (doubled).

The ecliptic pole is on Nelson’s hip (limb joint). The celestial pole is on the noble’s jaw (limb joint 50%). The celestial south pole is on Nelson’s hand (limb joint). The horizontal plane confirms summer in Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.

Battle of Copenhagen plaque

Battle of Copenhagen plaque (Cibber. Typology and axial grid by ED Furter). Here Nelson expresses only polar types; his arm stump and left elbow as 11p and 4p ‘galactic poles’, his heart and hip as ‘celestial poles’. Type 7 as a pulley lacks an eye, but still holds a rope. The typology is listed adjacent.

Type label; Character (archetypal features):
1,2 Builder or Taurus; Sailor A. And Sailor B behind.
3 Queen or Aries; Captain, reading map and holding a flag.
4 King or Pisces; Officer reading map (twins).
4p Gal.S.Pole; Nelson’s elbow (limb joint).
5a Priest or Aquarius; Sailor holding a wounded boy (inversion of 12).
5c Basket Tail; Map and hourglass.
6 Exile or Capricornus; Wounded boy (sacrifice, small).
7 Child or Sagittarius; Cannon’s pulley (unfolding, rope). NO EYE.
7g Galactic Centre: Five feet (path).
9 Healer or Scorpius; Wounded sailor.
10 Teacher or Libra; Doctor (arm V-posture).
11 Womb or Virgo; Officer’s belly (womb).
11p Galactic Pole: Nelson’s arm stump (limb joint).
12 Heart or Leo; Officer’s chest (heart).
13c Basket Head; Copenhagen buildings.
14 Mixer or Cancer; Nelson’s shoulder ? NO EYE.
15 Maker or Gemini; Sailor brother (doubled), his brother with a rope (rope).
15g Gate; Nelson, and a noble behind him (usually no character).

The ecliptic pole is on Nelson’s missing hand (limb joint). The celestial pole is on Nelson’s chest (more typical of 12/13 Heart or Leo, but his eye is not characterised). The celestial south pole is on Nelson’s hip (limb joint). The vertical plane confirms summer in Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius, ahead of the work by about 200 years, but typical of London’s progressive spirit since the Great Fire of 1666. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.

Battle of the Nile plaque

Battle of the Nile plaque (Cibber. Typology and axial grid by ED Furter). Here Nelson’s eye is type 14 Mixer, and his heart is type 13 Heart. A youth is the ‘womb’ of the future. The typology is listed adjacent.

Type label; Character (archetypal features):
2 Builder or Taurus; Sailor A leaning over (twisted).
3 Queen or Aries; Captain, looking back (bent neck).
4 King or Pisces; Sailor D, carrying a casualty down stairs (squatting) with sailor C (twins).
4p Gal.S.Pole; Sailor C’s neck (limb joint, rarely a neck).
5b Priest or Aquarius; Casualty (horizontal).
6 Exile or Capricornus; Sailor C’s chest, EYE OFF GRID.
7 Child or Sagittarius; Sailor E.
7g Galactic Centre: (water 15%, gate, juncture).
9 Healer or Scorpius; Sailor F, wounded (bent forward), tended by a boy (typical of 7).
10 Teacher or Libra; Boy medic (arms up).
11 Womb or Virgo; Sailor G’s midriff (womb). And eye.
11p Galactic Pole: Nelson’s missing hand (limb joint 68%).
13 Heaert or Leo; Nelson’s chest (heart).
14 Mixer or Cancer; Nelson, near the axial centre (ingress).
15 Maker or Gemini; Sailor carrying Nelson.

The ecliptic pole is on the captain’s shoulder (limb joint). The celestial poles are uncertain, The horizontal plane indicates summer in Cancer, thus spring and the cultural time-frame in Age Aries /Pisces /Aquarius, confirmed by the top central position of type 3 Queen or Aries as the captain. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.

Order the London archetypal tour guide here: http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

Many pillars on London’s axis 9, 9B, 9c

Nelson’s Column in Trafalgar Square expresses one of the type 9 Healer (typical of pillars) sites in London (see the map and some extracts from Stonepint Journal 4, on http://www.stoneprintjournal.wordpress.com and on http://www.stoneprintjournal.blog).

On a larger scale, the mindprint structure is expressed in London, as in all cities and building sites, where it is named stoneprint (Furter 2016). Nelson’s column is the main expression of type 9 Healer or Scorpius in London. The currently known features of type 9 Healer or Scorpius, some with known average percentages of recurrence in samples of about 50 or more artworks or building sites, are: pillar 50%, bent forward 30%, healer 11%, strength 9%, ritual, lamp.
Nelson’s column expresses two of these features (pillar, strength). The admiral and national hero had led his last naval battle off Cape Trafalgar in the English Channel in 1805 on 21 October, beating France and Spain combined under Napoleon. Here he was shot by a sniper on his ship Victory, in the spinal cord (bent forward). He had lost and arm and an eye in earlier battles. His statue of 17ft, on a pillar of 185ft, was erected in 1829. The pillar’s shadow geometry is based on the Great Pyramid (see also the Great Fire Monument, Stoneprint Journal 4, p24.). The pillar base has four reliefs of victories; Nile, Copenhagen, Cape St Vincent, Trafalgar. Four bronze lions (strength, see trump 8, virtue over monster jaws) were added on the corners in 1868.
Among the other features on London’s axis 9 Healer or Scorpius, are the Royal College of Physicians (healing); and the Queen Eleanor Cross site at Trafalgar Square south, of marble (pillar), a former survey zero point (incidentally on the same latitude as the London stoneprint axial centre across the river). One of twelve pillars on her body’s route from Lincoln, by Edward1. It was moved to Charing Cross, removed by the Republic, but replaced by a Charles1 statue. A replica stands at Charing Cross station.
Among the features on London’s adjacent axis 9 Healer ScorpiusB, are Trafalgar Square north-west corner, the empty plinth (pillar) for the Duke of York (William4), since 1999 bearing alternating statues. In 2018 it carried ‘Heroic Woman’, with short arms and legs, sitting flat (bent forward). In the north-east corner stands a George4 statue (intended for axis 12 Marble Arch in 1847). On this axis are also the National Gallery south side; Royal Institution former site; Museum of Mankind (strength feats); and Faraday Museum, Albermarle Str, to a pioneer of electricity (lamp), and a former Royal Society site. Ten elements were discovered here by electricity (strength).
Between axis 9 Healer or Scorpius and axis 10 Teacher or Libra, lies a wedge named 9c Basket Lid, known for recurrent themes of revelation 15%, law enforcement 9%, disc /wheel /crown, or snake. This wedge usually contains some additional expressions of type 9 or 10. Here lies Cleopatra’s Needle (type 9, pillar), linked in legend to a suicide by snakebite (snake), raised here in 1878 on Sep 13 over a time capsule (lid, revelation). Sphinxes (strength) were added later. The 9c Basket Lid wedge also contains the London Coliseum theatre (9 strength feats, pillars. See Rome 9 Coliseum, canvas texture, on the cover); London Palladium (pillar), named after a protective stone (healer); Royal Institute of British Architects (9 pillar), with interior columns of black marble (9 pillar); Hanover Square St George church Corinthian portico (9 pillar); St Martin in the Fields Corinthian portico (9 pillar); and Ripley’s Believe it or Not curiosities (revelation).

STONEPRINT Journal series

This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities. http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

Or order the book Stoneprint (2016), or Mindprint (2014); or slide show talks; or to contribute articles, email edmondfurter@gmail.com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4

http://www.stoneprint.wordpress.com
http://www.mindprintart.wordpress.com
http://www.edmondfurter.wordpress.com

Back editions of 16pp, at $/E 12 plus postage each:
1 Pictish beasts ‘zodiac’
2 Crop circles are natural artworks
3 The stoneprint tour of Paris
4 The stoneprint tour of London. This edition is available from Lulu.com (24 pages, $18), http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

5 Culture code in seals and ring stamps

6 Rennes le Chateau stoneprint tour. Lulu.com, $10.

Students of anthropology, art history, psychology; and lovers of art and rock art should consider ordering editions with the book Mindprint (about 264 pages, 200 illustrations, $29).

Categories
Stoneprint buildings and cities

Stoneprint, the human code in art, buildings and cities

Extract, summary and index to the book Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016). Stoneprint expands the demonstration of our subconscious behaviour, from visual art, to ancient and modern building sites.

See images and extracts from Stoneprint here;
or visit http://www.stoneprint.wordpress.com

Architecture reveals our subconscious building code
Our huts, houses, kivas, circles, pillars, fortune bowls, art, game boards, temples, pyramids, cities, constellations, geoglyphs and graves, say much more about us that we ever knew. Structural analysis reveals the universal repertoire in our subconscious behaviour. The structure also says more about culture and nature than we ever knew, but had glimpsed in nature. We imprint a natural, abstract structure of five layers, including sixteen characters in sequence, on an axial grid, in all our complex artefacts. The same structure appears in the periodic table, and in reflexology points in our hands, eyes, teeth and ears. A similar structure informs bio-chemistry and DNA. The archetypal expression in our works, thus the ‘cultural record’, is now readable, with significant implications for cultural crafts, and for the human sciences of art history, archaeology, anthropology, philosophy, psychology, sociology and communication science. The formerly ‘invisible’ layers of our perception and expression, or human code, now offer the opportunity to integrate the conscious and subconscious halves of crafts, sciences, and culture. Our works re-express nature, and our place in it. Culture does not ‘come from’ any of our media, but from archetype, the potential that enables nature to express self-replicating and mutating energy. Our re-expression of archetypal structure could be named stoneprint, the human code. The core content of any old or new culture is as predictable as chemistry, as readable as the periodic table, as translatable as language, as visible as art, as varied as mythology, and as recyclable as building material. This book demonstrates our subconscious expression of archetypal structure by a tour of celebrated building sites worldwide. There is indeed ‘something much more mysterious’ going on, but it is not fantastically ancient, nor distant, nor advanced, nor extinct. Many of us express it.
Gombrich posed this opening statement in The story of art; “There is no art, only artists.” In that view, Da Vincis and Picassos create the medium. Stoneprint demonstrates the opposite. Art and architecture have narrow repertoires, capable of description, thus there is art, and art enables artists. There are no Da Vincis or Picassos without the universal subconscious human code. Neither Da Vinci, nor any artist or mystery school, was aware of the visual grammar that they did not see, but could not contradict. Archetype, structure, and culture existed before we did, and before the universe, and will outlive the cycles of its expression intact. Whether we are few, as when we built the houses illustrated in the Ice Age chapter; or many, as when we built the pyramid fields and cities illustrated in the historic chapters; we express the core content of culture in all our media, with as much apparent variety as possible. Stylistic differences fade when the core content of culture is revealed. We all build, draw, talk, trade, count, strategise, pray and fight the same. Stoneprint reveals the size and shape of the blinkers in our conscious perception and assumptions. This book lifts the ‘beam’ of self-deception from our works, and from our supposedly scientific eyes.
We will continue designing art and buildings by intuition, but we will never see or study our works with half our brains again. The revelation starts with a testable definition of the subconscious structure in art and buildings. Then we query each esoteric craft, and each human science, on the abstract elements in culture and nature; and test the structure in 130 artworks, geoglyphs, buildings, temples, pyramid fields and cities.
Stoneprint reveals culture as directly rooted in nature; and as perpetual, universal, standard, and subconscious. This is much more mysterious than supposed ancient Atlanteans with magic building methods.
The core content of any old or young culture, is as predictable as chemistry, as readable as the periodic table, as translatable as language, as visible as art, as varied as mythology, and as recyclable as building material. Stoneprint demonstrates our subconscious expression of archetypal structure, by a tour of celebrated building sites worldwide…….

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

Stoneprint covers and pages samples display.
Stoneprint covers and pages samples display.

Structural analysis reveals ‘grammar’ in the cultural record
Stoneprint reveals the size and shape of the blinkers in our conscious perception and assumptions. This book lifts the ‘beam’ of self-deception from our works, and from our supposedly scientific eyes. We will never see or study our works with half our brains again.
The discovery of stoneprint in ancient and modern buildings, is the second call on the human sciences, and on popular culture, to replace the fundamental and supposedly ‘common sense’ paradigm of culture as ‘developed and evolved’, with the paradigm of subconscious structural expression. The first call was in the book Mindprint (2014), focusing on structural analysis of art and rock art. The first call on archaeologists was made in a paper presented at the ASAPA conference in Harare in 2015 (UZ, in press for 2019). The first call on anthropologists was in the international magazine Expression (2015 editions 9 and 10; 2016 edition 13).
We are unwitting instruments of structure. Yet we seem incapable of facing the evidence of our subconscious behaviour.
The challenge that the results of structural analysis poses to science, now includes hard evidence from chemistry, physics and architecture. The challenge to culture remains the same that our split-brained consciousness had always posed; to dramatise and integrate our subconscious perception, into our conscious minds. This is the challenge that healers, including Jung, pose to individual people and to our globalising society.
Chemistry and physics have their structural study in the periodic table. Language has its structure in grammar. Medicine has its structure in cells and DNA. The humanities and cultural crafts are lagging behind in our current cultural maturity cycle……

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

Motivation for the book
Edmond Furter wrote Stoneprint to redress the imbalance in the scientific paradigm, and in popular culture. Most human sciences, particularly Art and Architecture, are little more than craft training courses, designed to produce artists and architects, and to activate the inner artist; but not to train art researchers. Esoteric crafts training suffer from the same practical approach. Practitioners train practitioners, who seldom study the natural and psychological matrix that enables their crafts.
Furter commented on the book: “I was fortunate to find the five-layered structure in rock art; baffled to find it in ‘fine’ or ‘free’ art; doubly fortunate to find sufficient references to place it in context with crafts and sciences; and triply fortunate to demonstrate how we express it in mud and stone. I did not invent stoneprint, I found it, and invested six years in explaining it.”
“The quest in the book Stoneprint is: What is culture, and whom does it serve? It seems that our works serve more purposes than we consciously knew. We serve universal culture; which serves nature, which serves archetype, which is an end in itself.
“In Stoneprint, I examine the wonders of the human code in 130 works of nature and culture, in the context of crafts and social sciences, to raise subconscious behaviour within reach of our conscious minds.”

Stoneprint, the human code in art, buildings and cities, includes these themes and sites:

Cultural context
The Five levels of structure in cultural media
Alchemy: Crafts reveal chemistry
Chemistry reveals biology
Kabalah: Natural philosophy correspondences
Poetry: Blake’s London- Jerusalem- Golgonooza
Astrology: Calendars reveal divination
Cosmology: Direction is everywhere

Scientific context
Art History: Perception reveals gestalt
Archaeology: The World Archives challenge
Anthropology: Artefacts reveal structure
Popular Anthropology: Who did it?
Psychology: Behaviour reveals archetype
Philosophy: The universe reveals archetype
Communication Science: Structure is the message
Sociology: Behaviour reveals our self-image
Science and esoterica: our split consciousness

Natural elementary maps
The periodic table
Reflexology in our hands, eyes, minds, teeth, ears,
The Piacenza bronze liver double circle of gods
Piacenza city and its walls are cultural stoneprints

Culture maps
The Maikop silver bowl paradise
Mapungubwe’s gold foil oracle reconstructed
A Venda divination bowl
Pedra Pintada engraving oval, and pentagons
The Bulgarian Karanovo tablet answers questions

Ice Age sites
Turkey: Gobekli Tepe house C, D, B, A
Gobekli Tepe excavation and radar maps
Turkey: Gobekli Tepe pillar D43, a culture portrait
Spain: Malta’s Mnajdra double stoneprint
Spain: Malta’s Gigantija double stoneprint
Spain: Hal Saflieni’s underground stoneprint
Scotland: Skara Brae plans
Scotland: Jarlshof wheelhouses and site recycling

Early civil sites in Sumeria
Babylonia was a stoneprint in clay brick
Babylon city, a vortex of dispersion
King-priests Ur Nanshe, and Gudea built temples
Assyria: T-pillars and Y-tents in an army camp

Early civil sites in Egypt
Sakkara, first royal campus, and a stepped pyramid
Teti’s pyramids form a stoneprint in Sakkara
Giza pyramid field stoneprint
Kings Valley tombs are underground stoneprints
Queens Valley entrances lost and found
Edfu temple is a double churn
Senmut’s ceiling stoneprint is half zodiac, half duat

Civil outpost sites
Nubia: Meroe pyramids speak with their doors
Egypt: Nabta Playa slab field counts four Ages
Egypt: Hawara labyrinth in Kircher’s Gnostic vision
Nubia: The cornucopia of minister Huy
Palestine: Jerusalem temple mount hybrid
Palestine: Jerusalem, womb of three religions
Judea: Masada, a military stoneprint
Turkey: Nemrut hill, crossroad of Persians and Greeks
Australia: Elivna rock pavement engraving
Ethiopia: Axum is an ark of spiritual mysteries
Ethiopia: Lalibela temple field of bedrock ‘hearts’
Ethiopia: Lalibela’s Mary church; womb in a womb

Prehistoric European sites
Ireland: Drombeg house, a cosy double stoneprint
England: Avebury and Silbury landscape
England: Stonehenge counted three ages
England: Damerham circles in radar scan
England: Stonehenge landscape radar scan
England: Stanton Moor landscape; boulders and ‘ladies’
Greece: Phaistos palace, the other Greek labyrinth
Germany: Magdalenburg mound graves
Scotland: Stennes stone circle
Scotland: Cochno stone concentric engravings

African sites
Zimbabwe: Great Zimbabwe, landscape with a womb
Zimbabwe: Great Zimbabwe queen’s yard with a womb
Zimbabwe: Nhunguza and Penhalonga metallurgy floors
South Africa: San Bushman painted stoneprints on rock
Mali: Nature and culture on a Dogon mud wall
South Africa: Lydenburg concentric engravings boulder

Eastern sites
A Buddhist wheel of life landscape panorama
India: Sanchi temple gate pagoda engraving
Nepal: Kathmandu palace square temple complex
China: Beijing Temple of Heaven park, an Aquarian cosmos
China: Choukungmu pyramid fields need more research
Japan: Nara Basin Horyuji temple, galactic manifestation
Japan: Todai temple, a living site
Japan: Himeji, Shirasagi-jo temple, White Heron nests

Mexican sites
Izapa pyramid field and stelae, new world, same stoneprint
Izapa cacao tree ritual stele, a third layer of structure
La Venta pyramid field, spire eyes, platform womb
Monte Alban double stoneprint works with the landscape
Coba, a triple Stoneprint with interlocking ‘galaxy’
Uxmal was contested by a witch, a dwarf, and a king
Chichen Itza has temples to planets, and a stoneprint
Teotihuacan pyramid avenue, Leo sun, Virgo moon
El Tajin pyramid field, double thunder
Palenque lid cosmic tree and double stoneprint
Palenque pyramid field, chaos among order

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

Historic Western sites
Italy: Rome, eternal city with an Age update
Italy: Rome’s gates and bridges are eloquent
Italy: Rome’s Capitol Forum, contested but constant
Italy: Rome’s Quirinal forums for spiritual order
Italy: Rome’s Vatican City, a stoneprint inside type Aries
Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
Turkey: Ephesus, former city of Amazons and Artemis
Turkey: Serapis and Ophiotaurus, half-monsters
Spain: Santiago de Compostella, of a son of thunder
Canary Islands: Las Palmas governor’s house facade
Canada: Quebec, Victorian ideals in stone
South Africa: Cape Town’s Dutch forts claimed a footprint

See images and extracts from Stoneprint here;
or visit http://www.stoneprint.wordpress.com

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