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 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 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.

Order the Rennes le Chateu archetypes guide on this link;

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).

== Extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities. $10 from

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archetypes in religious art art culture is subconscious mindprint in modern art

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’.

Order the Rennes le Chateau archetypes guide on this link;

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).


Part of the post above is an extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities., $10. Consider ordering journal editions with the book Mindprint,

Contribute articles on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg. See also http://www.stoneprintjournal. blog

Use this link:

Back editions at $12;

1 Pictish beasts

2 Crop circles are natural artworks

3 The Stoneprint tour of Paris

4 The Stoneprint tour of London  (24pp, $18). Also from

5 Culture code in seals and ring stamps.

6 Stoneprint tour of Rennes le Chateau and Rennes les Bains.

culture is subconscious Indian Harappan art archetype Mohenjo Daro art

Indian Harappan seals express archetype in characters and script

Typology features of characters in the Indian Parhupati seal, as in all cultures, demonstrate that the five structural layers of expression are subconscious to artists, architects, builders and members of any culture. Early Indian seals compare well to Dilmun seals, partly due to stylistic exchange, but mainly due to universal archetype. General themes in the famous buffalo god Harappan seal include type 6 Exile or Capricornus; of ingress (here of the god), sacrifice, U-shaped (here of two letters, and of horns), volute (here of the podium bases), horned, and double-headed (here of two letters, and the main character).

India, Harappa, Parhupati seal (after Njasaryablog, bottom right character missing, assumed, and restored as antithetical. Typology and axial grid by ED Furter).

These characters express about 50% of the known recurrent features of the sixteen archetypes, in their sequence, and with their focal points on the axial grid, as usual (the average is 60%, but miniature artworks usually express fewer).

Type; Character (noting archetypal features):

2 Builder or Taurus; Fish (of 3? But see a type 2-4 swop in a Hellenic salt pan calendar, on ).

3 Queen or Aries; Two-headed dragon (long or bent neck, dragon, spring). Also typical of 6. Types 3 and 6 are inherently ambiguous in about 5% of their features.

4 King or Pisces; King? Sitting (squatting), with 4p (twins).

4p Gal.S.Pole; Shoulder (limb joint) of twin (of 4), squatting (of 4).

5a Priest or Aquarius; Man B’s midriff (should be chest, heart, opposite of 12, GRID ERROR, typical of miniature artworks) of officiant (priest, assembly).

5b Priest or Aquarius; Rhinoceros.

6 Exile or Capricornus; Buffalo (horned. Its double-headed feature is transferred to type 7).

7 Child or Sagittarius; Buffalo person (horned, of 6), three-faced (unfolding), near the axial centre (ingress, of 6).

7g Gal.Centre: Podium B (juncture).

9 Healer or Scorpius; Caprid (of 6), looking back (of 3 or 10) under podium (pillar).

9c Basket Lid; Podium.

10 Teacher or Libra; Caprid at podium (guard).

11 Womb or Virgo; Tiger’s midriff (womb).

11p Gal.Pole: Tiger’s jaw (limb).

12 Heart or Leo; Tiger (felid).

13 Heart or Leo; Man A’s chest (heart).

14 Mixer or Cancer; Elephant.

15 Maker or Gemini; V-shaped dragon A (doubled, churn).

15g Gal.Gate; V-shaped dragon B’s jaw (limb joint).

The axial centre or ‘ecliptic’ pole is unmarked, as usual. The celestial south pole is on horn B (usually a limb joint, which the horns here seem to express). The horizontal plane confirms ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two top central types.

The five structural layers of art and architecture, are subconscious. Some of the symbolic aspects of archetypal features are semi-conscious, thus semi-logical. The only design that hints at some conscious understanding of the axial grid by the artist, is the Cycladic salt pan bottom calendar, with radial divisions (see the link noted at type 2 above). However the calendar is understood as an abstract cycle, and most cultures and crafts do not inquire further into the underlying structure of time, space and character. Crafts such as astrology and alchemy use aspects of art, particularly emblems and icons, but tend to isolate their functions from common crafts such as art and myth.

Order the guide to archetypes in ancient seals here;

Indus seal, Mohenjo Daro. Pipal fig tree goddess and Seven Aswins or wives of sages (after Typology and axial grid by ED Furter).

Angel of time

General themes in this Indian seal of Mohenjo Daro, include type 13c Basket Head, typical of prediction or calendar feasts, here a head offering, a box, and two structurally ‘extra’ aswins, or wives of sages. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.

2 Builder or Taurus; Ram.

2c Basket; A letter (woven texture).

3 Queen or Aries; : (in the damaged edge).

4 King or Pisces; Fish (fish, rare).

5a Priest or Aquarius; Man, its head in the damaged edge. Priest? (priest).

5c BasketTail; Letter, U-shape (of 6).

6 Exile or Capricornus; Wife G with cap (horned), far from the centre (egress).

7 Child or Sagittarius; Wife G, opposite two types, a regular device in minimalist works. Hair tassle (rope, juvenile).

7g Gal.Centre; Wife F.

9 Healer or Scorpius; Wife E.

10 Teacher or Libra; Wife D.

11 Womb or Virgo; Wife C’s midriff (womb).

11p Gal.Pole: King’s foot (limb joint).

12 Heart or Leo; Wife C’s chest (heart, palace), under stool with head.

13c BasketHead; Wives B, A. And stool, box (container), head on stool (of 13, death).

14 Mixer or Cancer; Goddess in papal fig (tree) gate (U-shape of 6 opposite), calendric feast (time), far (egress).

15 Maker or Gemini; King (order) offering a head (face, doubled), creeping forward (rampant).

The axial centre is unmarked as usual. The celestial south pole is on the ram shoulder (limb joint), placing ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two top central types.

The culture code model

An abstract chart of the labels, sequence, ocular (eye to eye) axial grid, polar points of pairs of opposite, and Age calibrator of the subconscious structure of cultural expression.

Mindprint model of the archetypal structure, or ‘grammar’ of natural and cultural expression (after Furter 2014, 2016). The typological set of sixteen clusters of optional features, applies to all media, including cosmology, calendar, ritual and myth. The five levels of typology, sequence, polar points, axial grid of eyes, and spatial orientation of eyes or focal points, are directly testable in complex artworks (including seals and jewel stamps) and in building sites.

STONEPRINT Journal 5; The culture code in seals and rings

This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities, Order on this link;

Consider including the book Mindprint, including 200 examples of structuralist analyses of art and rock art works.

Or book slide show talks, or contribute articles, by email to edmondfurter at gmail dot com, or call +27 (0)11 955 6732.

Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4

Back editions at $/E 12:

1 Pictish beasts ‘zodiac’

2 Crop circles are natural artworks

3 Stoneprint tour of Paris

4 Stoneprint tour of London ($/E 18. Also on

5 Culture code in seals and ring stamps. on

6 Rennes le Chateau stoneprint tour. $10.

Archetype in Islamic art culture is subconscious Mindprint typology of sixteen visual archetypes

An early Islamic metal mirror with figurative art expresses archetypal structure

Lively characters in a roundel on the back of an early Islamic Turkish metal mirror cast found in Iran, expresses the universal subconscious set of character features, sequence, polar markers, and time-frame orientation. General themes in the design include type 5 Priest or Aquarius (assembly, varicoloured, hyperactive, priest, tailcoat head); and type 6 Exile or Capricornus (polar, sacrifice, volute, horned, double-headed). Mirroring is repeated in a double-headed character (at 1); and two antithetical staffs; and subconscious doubling of four of the ‘single’ types; and in the metal cast itself.

Iranian or Turkish mirror made for the Persian market, 1200s, early Islamic style (metal. After Pinterest. Typology and axial grid by ED Furter). (See another metal artefact made to order, in the Gundestrup Bowl made in Greece for the Celtic market, in Stoneprint Journal 1; Pictish Beasts).

Type; Character (archetypal features):

1 Builder or Taurus; Bauble A of bird-bull man (cluster), dancing (twisted).

3 Queen or AriesB; Two-headed staff (long or bent neck), antithetical (dragons).

4 King or Pisces; Eagle B (bird, twins) sitting (squatting) in a kiosk (rectangle).

5a Priest or Aquarius; Priest-king (assembly, varicoloured, priest).

5a Priest or AquariusB; Priest-king eye B (assembly, varicoloured, priest).

5b Priest or Aquarius; Eagle A (assembly, decan Aquila), looking back (inversion, of 12).

5c BasketTail; Two-headed staff dragon (heads, mirrored).

6 Exile or Capricornus; Dancer with cap (horned) presenting gift (sacrifice) at two-headed staff (volute).

6 Exile or CapricornusB; Dancer with cap (horned), presenting gift (sacrifice).

7 Child or Sagittarius; Centaur (rare), with bag.

9 Healer or Scorpius; Man-leopard?, arms back (bent forward, healer?).

10 Teacher or Libra; Tamer (guard, hunt master; or metallurgy), with bull-staff (staff).

10 Teacher or LibraB; Bull-staff (staff, carousel).

11 Womb or Virgo; Woman’s midriff (womb).

11p Gal.Pole: Woman’s knee (limb joint).

12 Heart or Leo; Lion (feline) chest (heart).

12 Heart or LeoB; Lion (feline) tamed (death).

13 Heart or Leo; Lion griffin (feline) chest (heart), broken hind leg (death; Ursa, foreleg).

13c BasketHead; Water snake (head, decan Hyda).

14 Mixer or Cancer; Dancer (dancer, not accounted here due to abundance).

14 Mixer or CancerB; Dancer B (dancer, not accounted here due to abundance).

15 Maker or Gemini; Gift (bag) of re-creator.

The celestial pole is on the design centre (rare), or unmarked. The celestial south pole is on a hand and knee, or a foot (limb joint). These options place ‘spring’ and the cultural time-frame in Age Taurus (bird-bull-man as equinox, and the main character as winter ritual); or Age Aries-Pisces (bird and two-headed staff near the top). The design continues some Age Taurus features (compare to Age Aries Egyptian palettes), but the artefact is Age Pisces, early Islamic medieval metalwork, before Islam banned figurative images. The uncertain time-frame expresses transition between tradition and reform.

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 (24 pages, $18), on this link: Students and lovers of art and rock art should order it with the book Mindprint (, 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:

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 and on

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.

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

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 (24 pages, $18),

5 Culture code in seals and ring stamps

6 Rennes le Chateau stoneprint tour., $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).

culture is subconscious

Debate: Are cultural correspondences due to diffusion, or archetype?

Author Alistair Coombs posted a link to some Ice Age engravings in support of his correspondence theory of the diffusion of attributes of the Pleiades and Ursa asterisms (,1128408,1128408#msg-1128408). Mindprint author Edmond Furter demonstrates that correspondences run much deeper than a few hearsay tales. Here is an extract of part of the debate.
“Alistair, you affirm your view that “cultural diffusion routes… reflect DNA migration trails”, traceable in asterism personification variants.
But DNA is mixed, with few links to localised culture. The only inborn culture is universal.
You cite songlines “associated with astronomy at a national level” of scale in Australia.
But diffusion and standardisation of asterisms does not imply that incidental details of personification are developmental; nor that culture arises from diffusion.
You link my work to “David Lewis-Williams… mythic patterns neurologically generated rather than observed in culturally isolated traditions, which might account for similarities, like Jungian archetypes.”
But Lewis-Williams never uses any concepts or terms related to archetype or Jung. He summarised his recent position (2012) on ethnography as ‘individual idiosyncrasy, within a cultural framework’. He cites Megan Biesele on cultural motifs that may or may not ‘catch on’. This agrees with your paradigm of development and diffusion.
My research findings support and develop Plato, Jung and Levi-Strauss, not the cognitive trance dance rationalisation school.
You write that cognitive archaeology ignores astronomy.
But there is very little astronomy in cultural media. Babylonian, Sumerian, Indian, Chinese and Arabic decans and artworks, for example, are all mutating sets of calendric characters (Neugebauer and Parker 1996), useless for observational astronomy except as more or less arbitrary labels. Culture does not come from the sky, and is not sustained by the sky.
We agree that “zodiacal conceptions are not entirely neurologically generated,” but for different reasons. My research indicates that layers of archetypal meaning and structure are inherent in nature and in perception, with some inherent options allowing economic polities some differences, and a thick layer of stylisation (such as different sound strings in languages).
You doubt my finding of a “universal, subconscious, compulsive impulse” for “sounding elaborate”.
But the human sciences have fallen behind natural sciences partly due to populist simplification. I had found the ‘periodic table’ of culture, which simplifies the study of culture, by charting its quirks and structural complexities. Your diffusionist paradigm sounds like alchemical correspondence theory, before discovery and eventual acceptance of the periodic table. And it sounds generally true, meaning that it is not testable, in Popper’s definition of science.
You found that ‘the Pleiades came to be associated with flood… after being seven pursued maidens… more abstract parts of Taurus… both remain in cultural memory.’
But there is no secure way of dating the various attributes of this archetype. I listed about five or six attributes of type 2 Builder or Taurus, in my initial comment above. These attributes have always appeared at fixed average frequencies in artworks and building sites worldwide, anciently and in modern times, and will continue to do so. Archetypes are not man-made, and do not arise from major events. Events express archetype.
You found Taurus and Orion “less problematic than Ursa and the Pleiades, because Taurus [Hyades] reasonably resembles a bull or horned beast; and Orion resembles a man.”
But V-shaped buccrania are rare in art (see Gobekli Tepe images in the link I gave in my initial comment). Hyades and Orion-Auriga star lore is complex (Allen 1899).
You note that “Ursa and the Pleiades resemble each other in shape.”
But culture is more complex than visual gestalt (making wholes from suggestive parts based on relative proximity and magnitude). Egyptian myth links them since they are 90 degrees apart, former spring to former midsummer, equinox to celestial pole; and both have seven major stars. That common knowledge prompted conscious recognition of the archetypal motif of spring sacrifice, at the time of a bull foreleg, cast to the polar region as a severed foreleg-bull, and later a smaller one when the celestial pole and thus midsummer moved closer to Ursa Minor.
We agree that “Ursa does not suggest a bear, and Pleiades do not suggest a group of women.” But archetype prompts the rest of the picture, ritual, calendar, myth map, and compromises with peculiarities of diffused crafts, such as religion and legend.
You found that asterisms “came to represent different things to different cultures across time and space, which may not warrant input from an archetypal paradigm.”
But most star lore (Allen list all the known features from classical and modern sources) expresses almost all the elements of cultural structure, and few superfluous ones (which are often due to conscious correspondence theory ambiguation, or interference, and to a few inherent ambiguities, of which I have identified five, in Mindprint 2014). The archetypal paradigm confirms that asterisms and other cultural features do not “become”, and do not “represent things”. Star lore, myth, calendar, ritual and building sites did not start on blank canvases, and do not rest on idiosyncratic foundations (which do not eventually “become” cultural frameworks, as the current “scientific” paradigm assumes).
You note that ‘sevens might be archetypal, but also [arise from] language systems… meaningless [in the] Palaeolithic era.’
But language, which you probably equate with evolving cognition, does not dictate art, calendar, ritual or practical crafts. My research indicates that cultural media do not, and thus did not ‘evolve’. Paleolithic assemblages are complex and complete (textiles, needles, buttons, jewellery, cosmetics, fire, art, ritual, calendar, myth), lacking only metals, probably due to lack of population. Stone Age language was probably equal to any language, with stone, bone and mastic terminology instead of metallurgy.
You found that “The Pleaides came to represent a central role in the cosmologies of different cultures.”
But the function of every part of cosmology depends on the other parts. The Pleiades are meaningless without Sirius in Gemini, Hydra under Cancer, Regulus in Leo, Spica in Virgo, Antares in Scorpius, the three visible poles, three equators, and the rest of the ‘story’.
There is only one cosmology, with several different format options (ecliptic, celestial, galactic; months or hours; geometric or mythic; and so on).
Your partly agree with me, that “co-incidences of migration and trade routes with cultural elements, form a circular argument that reveals nothing about culture or humanity, unless it is studied in the archetypal paradigm,” but you remain in the conscious, developmental, diffusionist paradigm: “how ancient or extinct people storied their skies.” But our species is not extinct. Neanderthal, Denisovan, Flores and other mutational variants could re-appear.
You are working on “an early observational history… and genetic trail linking Siberia, North America, Melanesia and Australia… how such identities might remain in isolated groups for unexpectedly long periods… looking at the same constellations.”
But the same dots in the sky alone do not account for the correspondences, as you acknowledge. Nor does cultural contact. Archetypal expression of culture in various media is a simpler explanation.
We agree that the Seven Sisters and other characters “likely stem from very deep, archaic sources,” but you add the term “from observation”.
If our sky was as opaque as that of Venus, we would have used other canvases, such as long lines, geoglyphs, landmarks and building sites more extensively.
You do not see archetype at work in “what determines what we see in an asterism, other than resemblances.”
But Plato and many other philosophers found archetype to be inherent in nature. Your assumed detailed diffusion does not even explain all the visible correspondences between cultures separated in time and space. And you offer no explanation for the five layers and about 75 features of identical structural in 600 artworks and building sites, many of which I have posted a link to above.
For the Pleiades, you propose “a cosmic hunt theme, reformulated into a flood narrative, retaining earlier actors or depictions of space.”
But some Pleiades lore and images do not involve a hunt. And some flood stories do not single out the Pleiades.
On Ursa, you cite Asiatic-American parallels of Ursa as a bear “of immense antiquity”. Meaning Ice Age art.
But Ursa is not always a bear. And bear images do not all express Ursa. See the structuralist analysis of a doubled mindprint in the Trois Frere cave engraving, Mindprint p150-151, also via my link above, or in my GH AOM September 2015 article, where a bear frontal face, top left, subconsciously expresses type 15 Maker or Gemini.

Ice Age engraving in Trois Frere cave ‘sanctuary’ (After Donsmaps. Structuralist analysis by Edmond Furter).

Or see the structuralist analysis of the Trois Frere ‘Sanctuary’ engraving to which you posted a link, where a baby bear frontal face expresses an extra type 1 Builder or Taurus [here labelled 2Ta in error, it should be 1Ta, as the 1Ta elephant on the same axis], which the sky expresses as Auriga and Orion. Its outer eye expresses type 15g, which in the sky is the Galactic Gate and Polaris at the Ursa Minor (Small Bear) ‘hoof’. Art is not cosmology or astronomy of course, but all media express aspects of archetypal structure. The frontal face does not seem to be graffito, since this panel has some unusual false starts or later additions (mostly between types 8 and 9 Healer or Scorpius). [UPDATE; If it is graffiti, it does not disrupt any of the five layers of archetypal structure that artists and sometimes collaborators express.]
You warn researchers to ignore ethnographic sources of the last 100 years, to avoid contamination by “the information bubble”; and you cast suspicion that archetypal theories are contaminated by mass media, and thus diffusion mistaken as subconscious inspiration.
But standardisation had started in the Egyptian empire, and the Greek world, and the Chinese empires, and expanded in the Roman Empire; thus the last century is a random number. Notable recent ‘savage’ exceptions include the Picts in Scotland (see Stoneprint Journal 1; Pictish beasts, at, yet even there some Germanic, Scandinavian and Norse influences are visible.
The level of archetypal detail that I have isolated in cultural media, rises above diffusion and imitation. And in some examples, diffusion is entirely ruled out (as in the faint engraving in the recently opened Berriruata cave in Spain, sealed off for millennia, see my article in the anthropology journal Expression).
There is probably no diffusion between the Trois Frere examples and anybody anywhere, yet several artworks in that cave express mindprint in as much detail as any artwork anywhere, at any time. The list of archetypes that I give above, could be used to write a caption for the artwork (that you chose to support one of your points), by simply deleting the features that are not expressed; but are expressed in other Ice Age artworks. The same applies to Gobekli Tepe, Sumer, Babylonia, Egypt, Greece, Rome, the Picts, and about ten artists whom I know personally. They were all astonished when I demonstrated to them the extent of their subconscious repertoire. But they remain calm and keep on ‘designing’ artworks. As I expect that correspondence theorists will keep calm and keep on calculating diffusion routes, until a hundred of them have seen a hundred examples of mindprint in their data.
The explanation for this over-determined set of correspondences, and the study of culture, and the implications for who we are, has to involve archetype.
Alistair, I believe our irreconcilable differences are all paradigmatic. We look at the same data from different perspectives.