Archetypes in art Renaissance art analysis

Hogenberg’s Blue Hood folly cartoon engraving’s invisible order

Franz Hogenberg’s Blue Hood engraving of 43 proverbs was completed in 1558, a year before Bruegel’s Dutch Proverbs. The design was criticised for illustrating many emblematic scenes “in a disjointed, isolated fashion,” compared to Bruegel’s Dutch Proverbs (see the adjacent post) with cohesion ascribed to better perspective, diagonal movements, and symbolic colour scheme. But structuralist analysis (see the list of typological characters below, and the axial grid that appears in all artworks of all ages) demonstrates that the two works are equally complex, and equal in their subconscious typology and spatial use.

Due to his talent for exposing folly and dramatising history, the Duke of Alva banned Hogenberg from Antwerp ten years later, and he moved to London, as many Renaissance thinkers did, and later to Cologne. Like Bruegel, Hogenberg was also known for portraits and topographical views. His historical allegories updated a Classical tradition to contemporary events. He was among the first to move allegories from a mythical, cosmic setting, to a contemporary, recognisable village and domestic setting. Literal renditions and a peasant setting suggested humour and folly instead of high tragedy, in parallel to the Humanist era.

Dominant general themes in Hogenberg’s Blue Hood, are revealed by extra features of these types:

1-8 and 2-9 Builders v Healers; typical of twisted posture (here of many characters), cluster (the entire canvas), tower (castle), build (village), ruin (collapse, fire, loss, punishment), hero (ironic), or book (inscriptions of proverbs); opposite bent forward (many postures).

Another general theme here is type 5 Priest, of hyperactivity, assembly, and inversion (here figuratively, of folly v wisdom).

Franz Hogenberg 1558; Blue Hood, completed the year before Bruegel’s Dutch Proverbs, who copied most of the characters, but in different relative positions (see the previous post). Flemish Renaissance realists express the same subconscious structure as all artworks do (archetype labels and axial grid by E Furter).

Type Label; Character (noting archetypal features):

1 Builder; Stoops (twist) to get on in the world.

And Gets his coat dusted?; ‘Fleeced’ (ruin), turning (twist).

2 Builder; Cook’s herring does not fry, he kneels (twist) to blow coals under five (cluster) fish.

2c Basket; Spins (weave, instrument) what the other winds up on a distaff; ‘Gossip’ (secret), seated (throne).

And Winds up on a distaff (weave) what the other spins (instrument); ‘Gossip’ (secret), with hat (hat).

And Warms his hands at another’s burning house; careless of other’s loss.

And Bites pillar (pillar is more typical of 9c opposite); ‘Religious hypocrite’ (secret).

And Looks through his fingers.

And House on fire (container).

And Feathers thrown against the wind, from a basket (weave, instrument, container).

3 Queen; Two fools’ heads in one bell-cap (necks bent), one a woman (‘queen’).

4 KingA; Yawns at the oven (furnace, rectangle); ‘Over-estimates his appetite’.

4-4; Craps on gallows (rectangle), squatting (squat); ‘Disregards penalties.’

4 KingB; Blows in another’s ear, with bellows (furnace); ‘Advice’.

5a PriestA; Priest? Gets wind in ear, from bellows (tailcoat head?).

5a PriestB; Hangs his mantle by the wind; ‘Follows changes in general opinion’.

And Bangs his head on a brick wall (hyperactive, horizontal).

5a PriestC; Pees against the moon (hyperactive, water), with a sword (weapon, of 12 opposite).

And Runs (hyperactive, horizontal) head against a brick wall.

5b PriestA; Moon face (large) peed on (water), AXIS INEXACT or its mouth acts as ‘heart, of 13 opposite).

5b PriestB; Confesses to the devil (‘priest’ ironic), kneeling (horizontal); ‘Imform enemies.’

5b PriestC; Devil’s chest (heart, of 13 opposite) as ‘priest’ (‘priest’, ‘invert’), with tail, claws (reptile), wings (winged), hearing confession (‘judge’).

5b PriestD; Dog licks a pot; ‘Guest is late’.

5c Basket Tail; Chases dog from empty pot (container), with stick (tree).

6 Exile; Fire in one hand, water in the other; ‘Two-faced’ (‘double-head’).

7 Child; Holds falling house (buildings are more typical of 1-8 adjacent); ‘Dares not leave.’

7g Gal.Centre; House door (juncture, gate).

8 Healer; Blocks sunlight on water, with fan (disc); ‘Jealous of another’s achievements’.

9 Healer; Shaves (bent forward) a pig.

And Chooses chicken egg as duck egg runs away; ‘Fixated’ (trance), bent (bent forward).

9c Basket Lid; Takes (enforce) bread from back of oven (disc, pillar).

And Sticks plate (disc, instrument) through (enforce) oven (pillar).

And World (globe, disc) turns on his thumb (enforce). The above three c-types are on an axis, indicating a high level of integration of the artist’s subconscious inspiration and conscious skill. C-types are transitional, usually between certain axes, as these below:

And Wipes his backside on the door (lid), bent (bent forward), holding lamp (lamp of 9).

And Duck egg runs away.

And Sees through (reveal) ‘masier’ holes (instrument) in a plank.

And Carries daylight out in basket (instrument, weave).

10 Teacher; Throws (arms up) roses before swine.

11 WombA; Beer (crops) drinker’s midriff (‘womb’), with jug (water), staff (of 10 adjacent).

And Dog pulls bone (argument, ‘law’), its axis via its midriff (womb).

11-11; Sits between two chairs in ash, one chair has a head-rest.

11 WombB; Fat swine’s midriff (womb), eating roses (‘crops’).

And Young wife hangs blue hood over her husband, axis via her midriff (womb); ‘Fooling a cuckold.’

12 HeartA; Husband under blue hood, axis to his chest (heart).

12 HeartB; Eel (water-work) held by the tail (invert).

12 HeartC; Fishing (water-work) behind (‘invert’) the net (rounded), axis to his chest (heart); ‘Use others’ resources’.

13 HeartA; Jumps from cow’s back to donkey’s backside, axis to his chest (heart), with sword (weapon).

13 HeartB; Donkey’s chest (heart).

13 HeartC; Donkey.

13 HeartD; Cat (felid) getting bell (rounded).

And Hangs bell (rounded) on cat (felid), axis via his chest (heart); ‘Difficult task’.

13c Basket Head; Bell (instrument) on cat (felid).

13c; And Blocks (lid) a well (water-work of 13) after the calf drowned; ‘Unforeseen’ (‘oracle’). C-types are usually off the axial grid, but between specific axes.

14 Mixer; Shits (‘transform’) on the world; ‘Criticises’.

And Two shit in one hole, near the axial centre (ingress), under tree (tree); ‘Inseparable.’

14-15; Lights a candle to the devil (re-creator of 15), EYE OFF THE GRID.

15 MakerA; Candle wick (rope) lit to the devil (re-creator), at a three-armed candelabra (churn). Flame, NO EYE.

15 MakerB; Devil (reptile, winged, re-creator).

And Travels with all winds, windmill (churn) oars (winged) on his backpack (rope, bag, rampant; ‘Adapts opinion to others’.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Bellows (juncture) of 4B ear-blower.

And hand (limb-joint) of 5aA ear-blown.

And hand (limb-joint) of Stretches between two loaves of bread. And Bread A.

And hand (limb-joint) of Runs with head against brick wall.

11p Gal.Pole; Jaw (limb-joint) of 12A husband in blue hood.

And hands (limb-joints) of eel-holder.

And foot (limb-joint) of 9c world-spinner.

Summer; Jaw (limb-joint) of 13B Two shit in one hole.

Winter; Knee (limb-joint) of 5bB Confesses to the devil.

The solstice markers are near the vertical plane of the axial centre, confirming summer on axis 13C or Leo2, placing spring and the cultural time-frame in Age Taurus2, long before the work as usual. Alchemical, psychological or transformative artworks in all eras often express Age Taurus time-frames.

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


Eco, Umberto. 2009. Infinity of lists. London; Rizzoli

Furter, E. 2014. Mindprint, the subconscious art code. USA;

Furter, E. 2015. Rock art expresses cultural structure. Expression 9. Italy; Atelier Etno

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

Furter, E. 2016b. Abstract signs in art as shorthand for cultural structure. Ed. Anati, E. Meaning of abstract signs. Italy;  Atelier Etno

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

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

Furter, E. 2017c. Stoneprint tour of Paris. Stoneprint Journal 3. USA;

Furter, E. 2018. Stoneprint tour of London. Stoneprint Journal 4. USA;

Furter, E. 2019. Ayahuasca artists express universal structure.

Hockney, D. 2001. Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. Thames & Hudson

Jung, CG. 1970. Mysterium Coniunctionis: An inquiry into the separation and synthesis of psychic opposites in alchemy. Transl. RFC Hull. Ed. Herbert

Levi-Strauss. C. 1981. Naked man. New York; Harper & Row

McCormick, C.T.  2011. Folklore, an encyclopaedia of beliefs, customs, tales, music and art. Denver, Colorado; ABC-CLIO

Smith, Laurence. Accessed 2019

Thompson, S. 1928, 1961. Motif index of folk literature. Ellis ref GR 67.T52

Uther, H.J. 2011. Types of International Folktales: A Classification and Bibliography. Helsinki; Academia Scientiarum Fennica

Archetypes in art Renaissance art analysis

Subconscious order in Bruegel’s Dutch Proverbs

There is more than meets the eye in Pieter Bruegel the Elder’s 1559 literal illustration of Dutch Proverbs, or Blue cloak of deception, Folly, or Topsy-turvy world (invert, one of the recurrent features of type 12). The village scene painting of about 110 characters acting out 126 proverbs, seems a startling contradiction of morals and satire, religion and life, yet Solomon’s wisdom is also coded in Proverbs, and many pop songs are idiomatic expressions, such as Everybody’s somebody’s fool, or So far so good. The deeper message is the limits that nature, life and common sense impose on art, language and meaning itself. Demonstrating the five layers of structure in the features and spatial design, confirm that all artists subconsciously expresses archetype (see the article Blueprint, on how nature and culture conspire to express archetype also in building sites, myth, icons and alphabets, on

Dense or complex artworks add extra characters and archetypal features, with their eyes on extra axes, as ambitious artworks and rock art works in all ages have done (see archetypal structuralist analyses of large Ice Age cave engravings on and The archetypal structuralist model reveals the rigorous universal, standard, subconscious order in the apparent chaos of frantic conscious behaviour and spiritual plight. Thus structuralism introduces a new dimension and a challenge to art history, psychology, anthropology, semiotics, and all the human sciences.

The art Renaissance started in Flanders, particularly Bruges, with the use of lenses to project interior scenes on canvas, enabling artists to copy tonal gradients by different kinds of camera obscura (Hockney 2001). Renaissance religious art in the Protestant north is more realist, less indulgent and less mythological than the Catholic south. One of the hallmarks of the Renaissance is the hullabaloo of demons seen in ergotism visions, attacking the calm serenity of St Anthony and his antidote of pork, mandrake and meditation. Bosch’s startling, shocking, surreal visions of physical excesses and spiritual torture were popular, and soon copied by Bruegel and others. But Bruegel dramatised life in domestic, grotesque, panoramic tragic-comic style. The Northern Renaissance funded a surreal mixture of realism, technology, science, faith, war, plagues, moralism, esoterica and narrative illustration, retaining some cosmology and Gothic decoration (see a post on how Gruber integrated religion, alchemy, astrology and kabbalah in the Bad Teinach altar, on

A century before Bruegel, illustrations of seasons and wisdoms were already popular in Flemish and French late Gothic books of hours. Erasmus’ book Adagia of 1500, listed about 800 proverbs, soon reprinted with many additions. Idiomatic expressions contrast wisdom and folly, but are also ambiguous and multi-faceted, a quality that Mannerism later elaborated into enigmatic codes on the eternal assumption of supposed conspiracies that still dominate popular science. French writer Rabelais used lists in his novel Gargantua and Pantagruel of 1564, probably unknown to Bruegel. Franz Hogenberg’s 1558 Blue Hood was completed the year before Bruegel’s Dutch Proverbs, who copied most of the characters, but in different relative positions. A Hong Kong magazine, Passion Times, illustrated dozens of Chinese proverbs. English Proverbial idioms have also found illustrators.

Bruegel’s theme, and the cohesion of his vision, is not based on any common wisdom. Renaissance works strained to mirror horror, humour, entertainment, education, religion, new literacy, and secular demand, after centuries of medieval horror and deprivation. Bruegel used his landscape and perspective skills to integrate nature and society, populating fields and villages with allegories and parables that probe the limits of what visual art could narrate, and thus probed meaning itself. The philosophical function of art is also present in rock art (see the mixture of representational and abstract features in rock art articles on, and in Gothic art, and to ridiculous extremes in modern art.

Bruegel’s ambitious narrative compositions equal Bosch, but his setting is domestic, not cosmic. He is inviting and sympathetically provocative. Proverbs and Children’s Games are his early ‘encyclopaedic’ works of superficial gaiety or humour, thinly disguising allegories of foolish behaviour and sinful thoughts. Here sin is not a mythical, tragic event, but an everyday reality of minor events, in universal context approaching the archetypal. Yet there is no indication that any artist ever knew of, or used the typology, sequence, axial grid, polar markers or time-frame of archetypal structure.

The Proverbs design achieves some rigour by its colour scheme: follies in red, sins or their causes and consequences in blue; and by its implied intersecting diagonal movements; and grand perspective visually anchored by buildings, which Bruegel imitated from Bosch’s Last Judgement. But as in all artworks, design ‘strength’ devices are independent of the visual grammar of perception, expression and archetype, which is the ultimate rigour of expression and meaning. Artworks would fail, and art could not exist as a medium without the five layers of archetypal structure. Only two exceptions to the unwritten rules have yet been found, but these are in works interrupted by addition of pieces of paper to extend the work, thus doodles instead of recognised artworks.

The meanings and functions of art, like language, are doubly enabled yet limited: by the general conscious paradigm, and by archetype. Demonstration of the five layers of archetypal structure (feature clusters, their sequence, the axial grid of their focal points, certain recurrent focal or polar points, and time-frame or Age indicators in two of the five polar markers), now reveals that our subconscious has a strict repertoire of visual ‘grammar’ and natural meanings (see posts on the archetypal structuralist model on, or order the book Mindprint (2014) on

Dominant general themes in Bruegel’s Dutch Proverbs are revealed by extra features of these type axes:

1 /2 v8/9 Builder v Healer, typical of twisted postures (here several), cluster (village residents), tower (at the river), build (village), ruin (mishaps); opposite bent forward postures (several), strength (implied), pillar (here five), disc (lids, globes, roofs), or trance (frantic pre-occupations).

2c v9c and 5c v13c Basket v Lid, typical of weave (two weavers, baskets, lattices), instrument, container, or hat; opposite reveal (implied ‘wisdoms’). Transitional c-types are off the axial grid, but between specific axes.

5a/b v12/13 Priest v Heart, of colours (blue and red for sin and folly), priest (moral lessons), hyperactive (frenzied, futile acts), assembly (village residents), or invert (an optional feature of both sides of this axis. Here everything is invert in the sense of wrong).

Pieter Bruegel the Elder, 1559; Dutch Proverbs, or Blue Cloak, or Topsy-turvy World. This domestic integration of morals and satire, and nature and culture, probes the limits that common sense imposes on art and language (after Staatliche Museum, Berlin. Archetype labels and axial grid by E Furter).

Type Label; Character (noting archetypal features):

1 BuilderA; Blocks view of sunshine on water, with a fan (twist); Jealous of others’ success.

1 BuilderB; Throws (twist) cowls over the fence; Wastes what may be needed later.

2 BuilderA; Bears prefer their own company; Peers get along. Two bears dance (twist).

2-2; Geese (bird, cluster) go barefoot; Reasons may not be obvious.

2 BuilderB; Sees bears dancing (twist); Hungry, leans (twist) on staff (more typical of 9 opposite).

2c Basket; Keeps eye on the sail (weave); Stay alert, in boat (container). And Easy to sail before the wind; Conditions enable goals.

And Craps on gallows (instrument); Undeterred by penalties.

And Crows (bird, of 2) fly to carcass; People flock to advantage.

And horse (of 3).

And Privy (‘throne’, ‘secret’) hangs over a ditch; Obvious to see (reveal). And see 4B.

And Throws money in water; Waste.

And Wall with cracks collapse; Poor plan or management fails.

3 Queen; Views (neck bent) horse droppings as figs; Fooled by appearance.

3-4; Drags a block or log; Deceived by a lover, or pointless task.

3-4; Blind leads the blind to fall in ditch; Ignorance misleads.

3-4; Sees church and steeple (rectangle, of 4) is not end of journey (field); Complete the task.

3-4; Even finely spun (weave, of 2c) things come to the sun (of 4); All will be revealed.

4 KingA; Old woman trots from fear; Emergency finds resources, dogs pursue.

4 KingB; Warms himself at a house (rectangle) on fire (furnace); Take opportunity regardless of others’ loss.

And Shit in the same hole; Inseparable friends, sitting (squat) on a toilet (‘throne’).

5a PriestA; Stork (winged) flies (horizontal, hyperactive).

And Sees through a hole in a plank; Points out the obvious.

5a-5a; Looks at a stork (winged); Wastes time, time flies.

5a PriestB; Tosses feathers (winged) against (invert) wind; Pointless (hyperactive), counter to opinion, from a basket.

And Kisses ring of the door; Obsequious.

And Beggar pities another at the door; Afraid of competition.

And Wipes backside (invert) on the door; Disregard.

And Shoulders a burden (hyperactive); Imagines things worse.

5b PriestA; Hangs cloak (tailcoat head) according to wind; Adapts to general opinion (assembly).

5b PriestB; Falls (invert) from an ox onto a donkey’s backside (tailcoat); Loss in business, lower status.

And Cloak (tailcoat head).

5c Basket Tail; Plays fiddle (instrument) on a pillory (container, ‘tree’); Attracts attention (reveal) to self or shame.

And Cries over spilt milk (sacrifice of 6), cow’s tears.

And Donkey (more typical of 14, rare at 6).

And Grows (tree) from a window; Revealed, (reveal).

And Pigs increase as corn (plants) decrease; One’s gain is another’s loss.

And Gate open, pigs run into corn (plants); Careless acts invite disaster.

And Runs with pants (tail) on fire; Distress.

And Eaten sparks, craps (tail) fire; Outcome of dangerous act.

6 ExileA; Shoots a second bolt to find the first; Foolish act repeated (sacrifice), with crossbow (U-shape).

6-6; Couple (couple) kiss (double-headed) in cellar; Marry under broomstick, without wedding. And Stick out a broom (tree); Fun while master is away.

6-6; Roof (general theme of lids) tiled with tarts; Wealthy, wasteful (sacrifice).

6-6; Roof (general theme of lids) patched; Age requires repair.

6-6; Hole in roof, (general theme of lids), Stupid.

6 ExileB; Looks through his fingers; Turns a blind eye. Far from the axial centre (egress).

And Hangs a knife; Issues a challenge.

And Wooden shoes (U-shaped) stand; Wait in vain.

And fool shaved without lather; Tricked.

6-7; Bandages head; Toothache behind ears, malingerer.

6-7; Lead each other by the nose; Fool one another.

7 ChildA; Fool (juvenile) with bag (bag), strap (rope) on shoulder, takes cards; Fools get best cards; Luck could overcome odds. Spills cards; Events up to chance.

And Craps on the world, Despises everything. The 7A-15A AXIS IS INEXACT (‘eyeless’, or due to copying instead of re-designing).

And Roof (general theme of lids) laths, Roof has ears (eyeless), eavesdropper.

7-7; Dice thrown; Die is cast, decision is made, fate (general theme 10).

7-7; World globe upside down; Topsy-turvy (invert, general theme 12).

7-7; Pees on moon, on inn sign; Pointless.

7-7; There hangs (invert, general theme 12) the pot; Opposite applies.

7 ChildB; Herring hangs (bag) by its own gills; Take responsibility. More to it than an empty (bag) herring; More than meets the eye, (‘eyeless’).

And Leave one egg (unfold) in the nest; Keep a reserve.

7g Gal.Centre; Barn door (juncture, gate).

8 HealerA; Herring does not fry; Not by the plan, on his knees (bent forward), lid (disc) on head; Awarded responsibility. Smokes an iron saw; Smoke does nothing to iron (metal, strong), Some things would not change.

Sits between two stools (pillar) in ashes; Indecisive.

And dog (canid) licks out pot (metal); Guest is late for dinner.

And Scissors (metal) hang out; Cheaters await.

8-8; Feels if a hen would lay an egg before slaughter; Hen-feeler; Miser.

8-8; Gnaws one bone; Talks of the same subject.

8 HealerB; Carries fire (smelt) in tongs (metal) in one hand, water in the other (bent forward, strong; Two-faced, stirs trouble.

9 HealerA; Pillar-biter (pillar); Religious hypocrite.

9-9; Sow pulls tap from a vat; Negligence brings ruin.

9-9; Soldier (strong) in armour (metal); Anger. And armed to the teeth, knife (metal) in mouth. And straps a bell (metal) on a cat; Dangerous impractical task.

9 HealerB; Binds (bent forward, strong) devil with a pillow; Obstinacy (strong, trance) overcomes (heal) anything; or Arrogance may fall short. She is Mad Meg, a housewife version of St Magdalene that ‘could plunder hell for silver and gold’ (metal) vessels (disc).

9c Basket Lid; Devil (snake) bound (enforce).

And round leather bed? (disc).

And Spindle whorl (instrument, weave, staff).

And Barefoot and one shoe, Needs balance (of 10).

And bangs head on a brick wall (‘pillar’); Try to achieve (enforce) the impossible, holds a knife (metal).

And bell (disc, instrument, metal) for a cat; Impossible task, or to call a cat.

And Spins (weave) what the other winds (weave) on a distaff (pillar); Gossip, Spinster A with world (instrument).

And Black dog (canid) comes between; Thwarts.

And Winds (weave) on the distaff (pillar, instrument) what the other spins (weave); Gossip, Spinster B.

And Carries the day out in baskets (weave, container); Wastes time.

And Holds a candle (‘reveal’) to the devil; Makes wrong friends, man in red hood (hat).

And Devil (snake) hears confession, with antler horns (strong. Tarot trump 9, Hermit with antlers or an antelope, express some of the same features).

And Confesses (reveal, bent forward, of 9) to the devil (snake); Reveals secrets to enemy.

And Blows in another’s ear; Gossip (reveal), with bellows (instrument).

10 Teacher; One shears (arms up, metal) sheep, one shears (arms up, metal) a pig. One has wool (market), one an empty bowl (disc); Resources unequal (‘balance’). And Shear but do not skin; Do not press advantage too far, (balance).

11 WombA; Pulls blue cloak over husband; Deceives, cuckolds, young woman (womb) in red, looks at 13B prince in red leggings.

11 WombB; Gentle as a lamb; Submissive, axis to its midriff (womb).

And young woman’s midriff (womb).

12 HeartA; Blocks the well (water-work) after the calf had drowned (death); Acts after disaster.

12-12; Beautiful plate (rounded) but empty; Beauty has no substance.

12 HeartB; Pig’s chest (heart);

13 HeartA; Throws roses before swine; Waste value on the unworthy (invert), axis to his chest (heart) and eye.

And Pig stabbed through the belly (interior, death); Done cannot be undone (‘invert’), by a knife (weapon).

13-13; Stoops (invert) to get on, in the world (interior, rounded); Compromises to succeed.

13-13; Skimming ladle (rounded); Lives as a guest of others.

13-13; Chalks up debt; Owes favours, on a round (rounded) slate.

13 HeartB; Spins the world (rounded) on his thumb; Advantages, axis on his chest (heart), prince with rose-coloured cloak and dagger (weapon), feather in cap, red leggings.

And Dogs disagree over a bone; Argues a single point.

13c Basket Head; Pulls to get the longest end of a wishbone (oracle); Seeks advantage.

And spinning globe (oracle, lid).

And Scrapes spilt porridge back into a bucket (container); Lost value is never all recovered.

And bread A (bake, of 14).

And Stretches between two loafs of bread (bake 14); Budget runs short.

And Looks for a hatchet (weapon, of 13); Seeks an excuse.

And Hoe (tool, of 13) without a handle; Useless.

And Brings his lantern (oracle); Chance to show (reveal) talent.

And Hatchet (weapon, of 13) with a handle; Whole thing.

And Spoke in wheel (more typical of 9c); Obstructs plans.

And Ties a flaxen (weave) beard to Christ’s face (head); Hide deceit under piety, monk in cowl (hat, weave).

And Christ’s cross and globe (oracle, lid);

And Christ (oracle).

14 MixerA; Money-bag (more typical of 15) hangs on the side of love; Love can be bought.

And Pulls to get the longest end of a wishbone (oracle, of 13c); Seeks advantage, holds on to a pillar (‘tree’).

And Looks for others in the oven (bake) since he was there; Imagine (transform) own wickedness in others. Psychology knows this mechanism as projection.

And Stands in his own light; Acts against own interest.

And Bastes (cook, transform) meat on a spit; Some tasks need constant (time) attention, rich man in black hat, near the axial centre (ingress).

14-14; Sits on hot coals (bake); Impatient (time). And Does not turn a spit (bake, ironic) with others; Some people do not work together. Near the axial centre (ingress).

14-14; Yawns against the oven (bake); Over-estimates own capacity, attempts more than possible.

14 MixerB; Keeps hen’s (bird) egg and lets goose’s (bird) egg go; Bad choice, or some advantage.

15 MakerA; Falls through a basket (bag); Deception revealed (‘face’). And Hangs (rope) between heaven and earth; Awkward situation.

And Fishes without a net (rope, bag, churn); Miracle? Or see Winter below. Or uses other’s resources. He looks like Christ (‘face’), striding (rampant)

15 MakerB; Holds an eel (‘rope’, ‘reptile’) by the tail; Slippery, difficult task.

And Big fish eats smaller fish (order); Self-image determines perspective. Psychology recognises self-centeredness as a universal defence mechanism. Bruegel had copied this icon from Bosh, and his publisher labelled it ‘Bosh, inventor’ due to his popularity. Tarot trump 15, Devil, expresses part of this type as a demon holding two souls chained or roped. AXIS 7B-15B IS SLIGHTLY INEXACT. Father and son made several variant copies of this work, and copying may account for some structuralist variations, however artists usually compensate for some positional changes in copies by moving both characters on an axis.

15g Gal.Gate; Swims against the current (water, hazard); ‘Difficult to oppose general agreement’.

And river estuary (juncture).

And stall (juncture).

And Cuts broader straps (rope, of 15) from another’s leather (bag, of 15); ‘Uses another’s resources’.

And Pitcher goes to water (water) until it breaks (hazard); ‘Things have limits’.

Axial centre; Hand (limb-joint) of man who fishes behind the net; ‘Misses opportunity’.

4p Gal.S.Pole; Hand (limb-joint) of man who kills two flies with one stroke; ‘Difficult to be efficient’.

11p Gal.Pole; Hand (limb-joint) of man in blue cloak (juncture).

And Crane dines with fox, axle to its neck (limb-joint).

Summer; Fox dines with crane, axle to his shoulder (limb-joint).

Winter; Shoulder (limb-joint) of Catches fish behind a net; uses other’s resources.

The solstice markers place summer between axes 13c-14 or Leo-Cancer, thus spring and the cultural time-frame in Age Taurus2-Aries. Transitional time-frames are typical of works aiming at cultural or spiritual reform.

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

Proliferation of characters in Bruegel’s ambitious proverbs programme is subconsciously structurally accommodated in the usual way, by doubling or tripling the main axes (1v8, 2v9, 5a v12, 5b v13); and doubling some usually single types (4v11, 6v14, 7v15); and raising some transitional c-types from their sectors to having eyes on the axial grid. Axis 3v10 remains single. Only six extra characters, here less than 6%, are off the axial grid and not in one of the four c-sectors.

The Biblical basis for the seven deadly sins is in the Lord’s Prayer, and in the book Proverbs, where six sins are listed that anger god, and a seventh added later. About AD 300s Evagrius of Pontus, writing on Bible lessons for spiritual struggles listed evil thoughts, later reduced to seven by Pope Gregory the Great (d604). After the fourth Lateran Council in 1215, annual confession became mandatory, standardised to seven deadly sins. Luxuria or Extravagance changed to lust. Acedia or spiritual sloth became Sadness, later general Sloth. Covetousness changed to Avarice or Greed. In 2008 the Vatican added new sins such as environmental damage, drug trafficking, and excessive wealth.

Some of Bruegel’s proverbs function as esoteric parables. Type 13A, Throws roses before swine, is one of the reminders that images and words have deeper meanings than the instantly obvious. Some Christian proverbs, and the 15A fisherman, and Christ enthroned, lure viewers in by their apparently sanctioned religious morality, but the artist’s intention is much deeper than repeating idiomatic life lessons. He invites viewers to probe pictures, words, life and meaning itself.

Some References

Chomsky, N. 1986. Knowledge of Language. USA. Greenwood

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

Dixon, Laurinda. 2003. Bosch. Phaidon

Dotz, W, & Packer, Sharon. 1998. Epidemic ergotism, St Anthony’s Fire, and Jewish mysticism. Derm 101, Jul-Sep, 4;3

Eco, Umberto. 2009. Infinity of lists. London; Rizzoli

Furter, E. 2014. Mindprint, the subconscious art code. USA;

Furter, E. 2015. Rock art expresses cultural structure. Expression 9. Italy; Atelier Etno

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

Furter, E. 2016b. Abstract signs in art as shorthand for cultural structure. Ed. Anati, E. Meaning of abstract signs. Italy;  Atelier Etno

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

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

Furter, E. 2017c. Stoneprint tour of Paris. Stoneprint Journal 3. USA;

Furter, E. 2018. Stoneprint tour of London. Stoneprint Journal 4. USA;

Furter, E. 2019. Ayahuasca artists express universal structure.

Hockney, D. 2001. Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. Thames & Hudson

Jung, CG. 1951. Alchemical Interpretation of the fish. Aion, CW 9; 2, 169

Jung, CG. 1970. Mysterium Coniunctionis: An inquiry into the separation and synthesis of psychic opposites in alchemy. Transl. RFC Hull. Ed. Herbert

Levi-Strauss. C. 1981. Naked man. New York; Harper & Row

McCormick, C.T.  2011. Folklore, an encyclopaedia of beliefs, customs, tales, music and art. Denver, Colorado; ABC-CLIO

Roche, G.T. 2018. Temptation of St Anthony; on chemical mysticism.

Smith, Laurence. Accessed 2019.

Thompson, S. 1928, 1961. Motif index of folk literature. Ellis ref GR 67.T52. http://www.StorySearch

Uther, H.J. 2011. Types of International Folktales: A Classification and Bibliography. Helsinki; Academia Scientiarum Fennica

Zipf, G.K. 1949. Human behavior and the principle of least effort. USA; Addison-Wesley

Archetype in Chinese and Japanese art Archetypes in art Ayahuasca Oracle of the Dead counter culture

Kuniyoshi’s Ghosts, a Japanese oracle of the dead

Japanese artist Utagawa Kuniyoshi (d1861) made popular, mass-produced ukiyo-e woodblock prints in the late Edo period. He is famous for his Great Wave image, and as a master of the Floating World school. He dramatised energetic warriors, battle deaths, monsters, legends and ghosts. The archetypal structuralist analysis of the Kuniyoshi skeleton court triptych, was planned for inclusion in the article on archetypes in Oracles of the Dead worldwide (see Part I, II and III in other posts on this site), and may be included in a forthcoming edition of Stoneprint Journal. The court scene may recall a cleansing ancestral ritual, and a showdown between jugglers, similar to the Biblical episode of Moses and Aaron competing against the Egyptian king’s conjurers. Correspondences between cultures, and the identical five layers of formerly ‘invisible’ structure revealed in art, building sites, myth, alphabets and other media, by the archetypal structuralist model, are due to the way that archetype guides all the re-expressions of nature and culture.

Dominant general themes in this work are revealed by extra features of several types:

12/13 Heart, typical of death (here six bodies and three ghosts), rounded (eleven roundels, and lamps), inversion (ghost A), weapon (sword), ancestor (courtiers), or angel (three ghosts); and its opposite:

5 Priest, of colours (kimonos), priest (court ritual), hyperactive (conjuring and defence), tailcoat head (ghosts), assembly, reptile (snakes), or sash (kimonos);

3 Queen, of long or bent necks (here ghost A, and many snakes), sacrifice (death), or queen (court women);

15 Maker, of churn (here ghosts, and conjuring), rampant (ghosts), doubled (ghosts, women trios, snakes), smite (conjure v defence), face (ghosts), or reptile (snakes);

2c v9c and 5c v13c Baskets, or transitional wedges, which are never on the axial grid, but between certain axes; typical of weave (here silk), containers (lamps, roundels), throne (palace court), snake (many), secret (causes of death).

Artworks that integrate five or more archetypes as general themes, usually focus on some of the optional archetypal features that are mildly ambiguous (here reptiles, flight, and sacrifice), while neglecting some standard archetypal features (here type 6 has only a hand, no character). Even the quirks and exceptions of subconscious expression of archetype, are rigorously standard. Below is the archetypal structuralist analysis of the Japanese Ghosts art print, in the standard format, confirming that culture is an extension of nature.

Kuniyoshi Utagawa; Ghosts triptych, 1850. A samurai fights snakes conjured by a ghost, as Heian court women ancestors watch (after Wikimedia / Archetypal labels and axial grid by E Furter). Many of the standard archetypal character features, in sequence, with eyes on the axial grid, confirms that the core content of culture is universal.

Type Label; Character (noting archetypal features):

2 Builder; Samurai warrior (hero) fighting (twisted) snakes (cluster) in Heian court (building) of ghosts (ruin).

2c Basket; Roundel (weave, container) of an element, perhaps fire (instrument).

3 Queen; Ghost C (sacrifice) of a queen (queen), bent (neck bent).

4 King; Body of queen D (‘king’), sitting (squat), before a flame (furnace).

5a Priest; Body (death, of 12 opposite) of priestess? E (priest, assembly).

5b Priest; Body (death, of 13 opposite) of priestess? F(priest, assembly) with kimono bag (tailcoat head, sash).

5c Basket Tail; Ghosts tail (tail). And kimono knot (weave, tail, container). And inscription (weave, reveal).

6 Exile; Priestess F’s hand, NO EYE (more typical of 7).

7 Child; Artist’s name stamp (see Tarot trump 7, Chariot, whereon the stamp of the artist or printer is usually added; one of many correspondences due to archetypal inspiration in all cultural media). And Snake H (‘rope’), conjured (unfold) by 15 opposite.

7g Gal.Centre; Snakes bodies (limb-joints, path).

9 Healer; Snake F lurching (bent forward).

9c Basket Lid; Lamp (lamp, instrument, reveal) with lid (disc, lid, metal). And snake C (snake). And samurai’s feet (leg-link).

10 Teacher; Snake C (snake).

11 Womb; Queen B’s body’s (tomb) midriff (womb).

12 Heart; Queen B’s body’s (death) or ghost’s (angel) chest (heart).

13 Heart; Queen B’s body (death) or ghost (angel).

13c Basket Head; Dancer? C (oracle).

14 Mixer; Ghost A (time, transform, angel), far from the centre (egress), flying (‘bird’) from a roundel of foliage (tree).

15 Maker; Ghost B rising (rampant), with face wound (face), conjuring (sceptre?) snakes (reptiles, doubled).

15g Gal.Gate; Roundel (juncture) of element earth or water (water).

Axial centre; On samurai’s hip (limb-joint).

4p Gal.S.Pole; Snake tail (limb-joint) held by samurai.

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

Midsummer; Samurai’s hand (limb-joint) and sword hilt (juncture).

Midwinter; unmarked. The solstice axle is near the horizontal plane. The sword hand and hilt place midsummer on axis 14, analogous to Cancer, implying spring and the cultural time-frame in Age Aries, confirmed by the type of the highest character, ghost C.

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

Ayahuasca Oracle of the Dead counter culture

Ayahuasca oracle of the dead as counter-cult. Part III; Collective subconscious

Hippie ethic merged new knowledge of nuclear physics with older Eastern philosophies, as in the popular books Tao of physics, and Dancing Wu Li Masters. Counter-cultures always have strong political elements, but since Darwin, popular science was part of the package, partly fuelled by the arms and space race. Popular culture gravitated towards science and technology, soon served by ‘alternative history’ authors from Erich Von Daniken to Zechariah Sitchen, after whose novels aliens returned to the realm of myth and fable (see criticism of ‘ancient alien technology’ in Furter 2014; Hancock 2015; Furter 2016). Industrial society briefly sought ancestors or ghosts in ‘alien’ machines, realistic only if the environmental movement could persuade most governments to wrest control from some financiers and other lobbies, and enforce trade and agricultural policies via mutually calibrated android networks of domestic ‘things’, programmed to serve the greater good. [Update; A recent study (citation needed) found that most citizens in Eastern countries already trust automation devices more than politicians.]

This article is Part III of three parts of a draft chapter for the planned book, Cult and Culture Code. By Edmond Furter, author of Mindprint; and of Stoneprint; and editor of Stoneprint Journal.

Popular culture may be ready to acknowledge the need to automate gods; a function performed by oracles in ages past. But one of the ghosts in the environmental and economic machine is uncomfortably close to counter-cultures: the drugs trade is a flourishing parasite of globalisation. Since the British opium trade wars in China, ‘recreation’ drugs worldwide became more addictive, tolerance-inducing, cheaper to make, more expensive on the street, and less social. Brief physical thrills of Tik lead to real horrors of dependence, crime and biological waste. Supply alliances are as fickle and cannibalistic as pirate enterprises.

Stephen Gibb; Life’s a trip, album cover for Trippie Redd (archetype labels and axial grid by E Furter). Rap is the counter-cult of, and supplier to, mainstream stock market and investment culture. Collages typically express all sixteen types, and often some transitional c-types; here all four (2c, 5c, 9c, 13c; see a table of known archetype features in the Recurrent features tables below).

Rappers live fast, die young, burn carbon

Rap cult expresses the same cluster of behaviours, or Rogue’s code, as Vikings, robbers, pirates, and mixed tribes raiding the exposed edges of exploitative societies. In the 1990s, Rap music, developed from ‘nonsense’ poems such as Hunting of the snark; ‘talking’ blues; poetic heavy metal (as Steve Tyler noted of Aerosmith’s album Toys in the attic). Rap gangster ethic became a USA urban fad with worldwide appeal: drugs, sex and crime as a means to escape poverty and live beyond personal, social, psychological, macro-economic and ecological means. As Vikings, pirates or stock investors, they live fast, by personal arms, flash gold, exploit addiction and soft targets, raid rivals, consume all that money could buy, or lure clients by the fruits of apparently externalised exploitation. Gangs are united by the rogue’s code, but split by shifting alliances that allow takeovers, also typical of stock market executives. This ethic expresses type 3 Queen, decan Triangulum or Dagger; and type 2c Basket, decan Algol or monster head (see structuralist analyses of rock art of Amatola robber band, in Furter 2014). Pirates expressed these types in the Skull and Cross-bones ensign. Rappers use a dollar sign and crossed forearms holding pistols. Stock investors compute numbers and buy political lobby influence.

Environment is the new wealth

Environment used to be the inexhaustible source of challenge, food, exploration, conquest and exploitation, where anything we touch could be turned into gold. Now our species is the challenge, and environment is a network of shrinking resources, where anything we touch turns into toxic waste. Environment was easily ‘rationalised’; now it is an oracular can of scientific and political worms. There is no New World to sail away to. All the evils of Europe have followed the colonists to the United States, as the global financial crisis, and its likely recurrence worldwide, demonstrates.

In September 2019, young Greta Thunberg’s trans-Atlantic sail voyage to the UN finally sparked mass protests and government action worldwide. The ideal global culture is likely to first integrate vertically (religions and esoterica), but horizontally may remain four tribes; Eastern, Western, Arabic, African; interspaced by buffer zones such as Russia, UK, Australia, India, Turkey, Egypt, South America, Mexico. Solutions will remain as unimaginable as the southern hemisphere was, until explorers such as De Gama, and poets such as Camoens could tame it with visions of global integration.

Trance dance and healing is not invented, nor imitated

The father of the trance theory of San Bushman rock art interpretation, Prof David Lewis-Williams, is an atheist, probably a Marxist, but no hippie. His institute, Origins Centre, is a stark campus building with sparse artefacts and uninspiring ‘concept’ art installations, except for a startlingly real stuffed eland bull in dying posture, collapsing from the poisoned arrow of a San Bushman hunter. Lewis-Williams was popularised by Graham Hancock (2005; Supernatural). The prof and the guru share a lack of a thesis, and adaptability to different and even contradictory models of culture and cognition (see criticism of the trance dance school in papers by anthropologist Solomon, by artist Pippa Skotnes, among others). A vague populist version of the trance conclusion in Supernatural is tucked away in a paragraph that speculates on whether the universal formative function is in our minds, or somewhere else in the universe. Polite vagueness gains many light readers, but loses the gains and rigour of philosophy since Plato, where archetype is already developed; and the gains and rigour of depth psychology since Jung, whose cognitive mechanisms are already household terms. Lewis-Williams resembles the young Freud, desperate to make behavioural study ‘scientific’ and politically correct; ironic since Freud pandered to religion in Vienna, and Lewis-Williams pandered to Marxist atheism (see systematic criticism of Lewis-Williams et al 2012; Framed idiosyncrasy, in Furter 2014). The simple fact now emerging from structuralist anthropology is that culture is never invented, never changed, only re-expressed in slightly different styling.

Lewis-Williams had started his academic career in social anthropology. Among the ironies of anthropology, the study of society and culture, is that the science of measuring behaviour tended to adopt and demonstrate the paradigms of the scientists, instead of their subjects (Endicott et al 2005). Thus our mainstream scientific view of culture as inherited from ‘idiosyncratic’ innovators; and its counter-cult view of behaviour as ‘supernatural’ or inherited from a former golden age, suffer from blinkers of ‘conscious evolution’ that science had borrowed from Darwin and mis-applied, and from projection and other defence mechanisms that Freud had identified in the 1920s. Popular science remains wholly ‘inductive’, or does not differentiate between craft and science, but loses nothing (as structuralist analyses of hundreds of ‘academic’ artworks from the 1700s to today demonstrate). Science remains incompetent to study culture, especially where drugs, subconscious, oracles and esoterica is involved. Science remains blind to its eternal taboo: human soul. This paper is part of a series of demonstrations that soul contains recurrent elements in collective subconscious behaviour; measurable in artworks, building sites, myth, divination sets and other cultural media sets; that soul re-expresses nature; and nature expresses archetype in various media (see the periodic table, and sub-atomic standard model, in Furter 2016). Death oracle and induced visions are among our recurrent behaviours, and thus part of archetype (as recurrent ATU numbers and typology numbers indicate).

Edward Foster; Vision seeker, featuring Graham Hancock in a collage of cultural icons, DNA and DMT textures (after Gallery. Archetypal labels and axial grid by E Furter).

Foster’s art portrait of Graham Hancock, subconsciously expresses the universal set, sequence and axial grid of innate spatial behaviour. Its structuralist analysis is given below in the standard format (also used in my previous post on DMT Times, and in posts on Every work expresses some recurrent options, never all options.

Type Label; Character (archetypal features):

1 Builder; Concentric B (more often a spiral).

3 Queen; Rope man (more typical of 15) of Peche Merle.

4 King; Antelope-man, horizontal (more typical of 5), legs painted (more typical of 5), of San rock art.

5a Priest; Draco (reptile) constellation stretched (horizontal), head down (invert), former celestial pole star on its tail (tailcoat head).

5a -5b; Monolith or sun (more typical of 4) with halo (colours) on a hill, in a spiral.

5b Priest; Saddle-head rock art person enlarged (large).

5c Basket Tail; Two trance dancers (reveal), nested (weave) in ritual (priest).

6 Exile; Trance dancer C (small), on all fours (U-shape), near the axial centre (ingress).

7 Child; Horse (more typical of 5) nested (unfolding); inside (bag) pony B (juvenile?), dappled (more typical of 5). Both their eyes have counterparts, in the two types 15.

7g Gal.Centre; Feet (limb joints) of pony, horse and pony on track (path, gate) over streams (water).

8 Healer; Water eye (healer?).

9c Basket Lid; Handprint outline (arm-link). And water molecule or haemoglobin (weave). And spotted leopard or elephant?

10 Teacher; Dolphin or serpent (snake) spewing water (ecology), at pyramid stairs (guard).

11 Womb; Midriff (womb) of healer-reindeer.

12 Heart; Chest (heart) of healer-reindeer.

13 Heart; A mushroom.

14 Mixer; Graham Hancock, both eyes (mixing conscious and subconscious), near the axial centre (ingress), seeing ages (time).

15 Maker; Graham Hancock’s third eye (face, doubled) with streamers (churn, rope). And DNA vision snake (churn, rope, doubled, reptile) vision snake upward (rampant).

15g Gal.Gate; Concentric A (juncture).


Axial centre; Dancer A’s knee (limb joint).

4p Gal.S.Pole; Antelope man’s front hoof (limb joint).

11p Gal.Pole; Unmarked (as it often is).

Midsummer; Dancer A’s rear foot (limb joint).

Midwinter; Dancer B’s jaw (limb joint). The solstice axle is on the horizontal plane. These markers place midsummer in Cancer, implying spring and the cultural time-frame in Age Aries, confirmed by the top central character’s type. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Popular anthropology marvels at past glories

Graham Hancock was a journalist in Ethiopia when he traced a relic tradition of an Ark of the Covenant from Canaan, back via Egypt to Axum in Ethiopia, where Egyptian Exodus soldiers retired, and Coptic and Templar Christianity lingered. He became the leading author in the ‘coded ancient knowledge’ or ‘pre-Flood civilization’ genre, making forays into the ‘Ayahuasca Death experience purge and psychedelia’ genre. Hancock’s book Supernatural, a light digest of Lewis-Williams’ sparse trance dance theory, incidentally re-popularised aya tours.

Ayahuasca suburban death cults

Psychedelic research pioneers in the 1970s included Prof Richard Evans Schultes, Gordon Wasson, Albert Hoffman, anthropologists Peter Furst, Johannes Wilbert, Weston La Barre, Gerardo Reichel Dolmatoff; Andy Weil, Tim Plowman, brothers Dennis and Terence McKenna. An expedition to the Ampiyacu, river of poisons in northwest Amazon in 1981, aced as one of the physical parallels of their intellectual foray into the subconscious. Ayahuasca was unknown outside a few ethno-botanists and explorers. Yage Letters between William Burroughs and Allen Ginsberg sparked a cult. Roadside shamanism served tourists and locals between Sibundoy and Mocoa in the 1970s. “It was not pleasant, yet it caught on. Set and setting determine your experience with these plants. The range of experiences of personal misery and dread remain the same, but the approach, zeitgeist had shifted from exploration, briefly via science, to cultural craft. Ayahuasca retains the mystique of amateur anthropology; Amazon forests, medicinal plants, shamanic rituals, with the potential to re-program our conscious paradigm. A New Age movement has coalesced around a herbal brew, as medieval alchemy had coalesced around proto-chemistry. Ideologies and rituals such as UDV have developed, independent of vain attempt to replicate ‘traditional’ rites of the Northwest Amazon.

Colombian anthropologist Martin Von Hildebrand made a film with the Barasana and Makuna tribes of the Rio Piraparana, with men as ‘ancestors reverting to the dawn of time and future; sacred sites; origin points, 1800 place names of every creature; animals and plants as people in another dimension; to bring order (15 Maker, wand) to the universe, maintain energetic flows of life (14 Mixer, time). Their myths, cosmology, rules and restrictions amount to a complex land management plan.’ (see the recurrent subconscious land use pattern in Furter 2016; Stoneprint).

Death trips in many plants

Some American plants contain psilocybin, mescaline, or harmaline, causing visions of phosphenes (entoptics) of abstract shapes, leaving after-images for weeks. In Australia, two acacias with DMT in bark resin could be smoked. In north America, Jimsonweed or datura stramonium in very small doses causes visions of moth-man; larger doses cause death. It is sometimes added to ayahuasca. Central African poison shrug eboka or tabernanthe iboga, family dogbane (apocynacae), has root bark inducing otherworld visions. The Bwiiti secret society uses its indole alkaloids in initiations to induce life-changing spirit visions, at the risk of poisoning. Ibogaine hydrochloride extract is illegal, but sold in Europe.

The middle ground of mild or incremental purge, personal challenge, and connection to nature and society, is as difficult to find as the perfect ayahuasca brew. Some Christian and Afro-Brazilian religions use ayahuasca, incidentally demonstrating how easily cultures mix and match. But barriers to global culture remain as firmly in place as divisions between conscious and subconscious logic, or between science and crafts.

Spiritual tourism prompts cultural integration

Conjuring demons, or spiritism for practical purposes, is known in all cultures. Use of a foreign language, healer or ‘foreign’ spirit seems to outsource and externalise illegitimate deals and potential bad consequences. This tendency is condemned as appropriation if the source culture is powerless, or as aspiration if the source culture is powerful. Ayahuasca tours and cults act as a kind of spiritual brothel. Many authors criticise Westerners for stealing cultural goods of client cultures. Some bewail Western culture adoption, which may be seen as patronising ‘preservation’ of ‘quant’ or ‘pure’ cultures in the remaining rain forest, or reserves, books and museums. Whether Western culture ‘enriches’ or ‘develops’ by anthropology is rarely examined. Evans (2018) recognises culture as forbidden commodity: ‘Since the 1950s, Western culture has imported many ecstatic practices’. He sees a lack of home-grown spirit due to disenchantment with Reformation, Scientific and Industrial Revolutions. But familiarity breeds contempt within all cultures. Ecstatic revivals such as Romanticism were counter-cults, but exploded in the 1960s after re-popularisation of non-western crafts; yoga, Zen, TM, Tai Chi, Krishna, indigenous medicine, peyote, mushrooms, African-American music in jazz, rock & roll, Africanised Christianity and Pentecostalism. Evans asks: ‘Is this spiritual tourism, or cultural appropriation?’

All cultures are creolised mixtures. Tribes such as the Yora started using ayahuasca in the 1980s (Labate et al 2017). Could they ‘own’ it? Tea, coffee, chocolate, tobacco and other drugs were exotic counter-cult commodities before they became domesticated and globalised, or exploited by pharma business (as the 2019 pharma trials demonstrate) or by syndicates. Some authors on Amazonia see ecstatic crafts such as trance and magic as a response to culture shock 9Evns 2018), a last resort against genocide. Others see the 1800s mixed outcast Amatola polity in South Africa as using ‘baboon’ magic merely to raid mainstream cultures (see archetype in Amatola art in Furter 2014). Evans concludes: ‘Ayahuasca rites may be modern, intertwined with globalization, empire, disruption, trade, research and tourism. Perhaps there never was indigenous ayahuasca culture. Ecstatic rites may… spread through trade and Internet.’

All drugs are not equal. Evans sees ‘distance between Western and Amazonian use. Most Western tourists are ignorant of sorcery healing [type 9], and would be put off if they knew more. It is not a model for Westerners. Ayahuasca tourism is a Westernized, Christianized version, not the Amazonian idea of dominating spirits to expose [9c] secret enemies and get revenge.’ [12]. Yet conjuring and necromancy is known in all cultures. Westerners, says Evans, ‘use ayahuasca to identify traumas or emotional blocks in their psyche, and heal by acceptance, love, perseverance, surrender to a benevolent power… with Jesus as life coach, nature as a goddess.’ Environmentalism is a new religion re-styling the usual media; ethics, drugs, songs, art, esoteric crafts, scientism. Evans sees it justified if it could ‘raise the planet above a mechanism or commodity’ and nature above ‘an obstacle’. The Renaissance and Enlightenment ‘brought individual freedom from faith, but abandoned collective values.’

Pursue happiness, or avoid a bad trip

The real world has become as surreal as a bad trip. Ice caps melt, forests and coral reefs die, consumers drive capitalism, rich people plan to relocate to Mars (Corimer 2018). Suburban ayahuasca cult may unite cultic factions of drifters, hippies, rappers and refugees into forming a new mainstream culture; as Medieval Macabre troupes preceded the Renaissance. Since about 2006, trance and the vine of the dead became a grass-roots movement based in house cells. Entry level involves some social commitment, not just a token puff. Some small-time gurus capitalise on the need to belong, and the emotional attachment invested in the perception of freedom and unburdening.

An illegal substance with an intimidating reputation, and a sparse lore enabling a local pecking order, is the perfect mechanism for middle class cults, as spiritism was between the world wars. Members return for a mixture of risk and security, as addictive as ‘euphoric’ drugs. Blogger Sean Illing (2018) noted that a casual trip left him less anxious. “But there’s something gnawing at me. I want to go back… a group came together with a shared intention. That creates an emotional intensity that’s hard to find… Every person looks right at you, and you look right back. Real life isn’t like that… I’ve tried talking to random people. It’s a lot harder than you think.”

There is a hole in every culture, as in conscious thought. We always feel the need to go deeper. Current counter-cults include Mexico City’s ‘El Under’, a kind of ‘speakeasy’ where people wear fantasy costumes and assume alternate or ‘avatar’ identities. One member said “I am happy in my world of violence and darkness.” (BBC; Outliers 2019). Paris youth re-use the catacombs in the same way.

Doomsday now

Some themes in New Age art reveal expectation and dread of immanent change. Artist Marc Alexander (see this link;

Marc Alexander’s ‘Prophetic’ art meditates gloom

graphically questioned perceptions of doomsdays and real disasters, after the 2011 Japanese quake and tsunami. Some politicians and cults use inherent catastro-phobia to their own ends. Biblical prophets warned that no one would know the day or hour. The red spiral is some lyric from Leonard Cohen’s song, Future: “Take the only tree that’s left, and stuff it up the hole, in your culture. Give me back the Berlin wall, give me Stalin and St Paul, give me Christ or give me Hiroshima… the blizzard of the world has crossed the threshold, and it has overturned the order of the soul. When they said; Repent, Repent, I wonder what they meant… There will be breaking of the ancient Western code, your private life will suddenly explode, there’ll be phantoms, and the white man dancing.”

Tarot trump 13, Death; scythe over skeleton, horse, dismembered limbs and broken ossuary grave pots (see broken pots in a Pablo Amaringo artwork in a post on The icon expresses type 13 Heart, analogous to war; former midsummer; alchemical Dissolution stage; and the decanal meridian of Ursa Minor as scythe, Ursa as skeleton, Leo as horse, Sextans as limbs or pot, and Hydra’s chest as underworld. The trumps probably illustrated a Paracelsus calendric poem cycle.

A sense of repressed immanent doom was palpable in popular culture understatements the 2000 millennium; 2001 9/11 terror attacks; 2012 Mayan Long Count zero; global financial crisis; Arab spring waves; pollution; and Age Aquarius (type 5) start (since 2016; See Furter 2014). There was an expectation of larger changes to come, which astrologers saw in 2020 charts involving air, water, society, science and Internet (ASSA 2019). The 2019 autumn mass protests (assembly, type 5) worldwide, for freedom (varicoloured 5) and environment (water 5) against ‘extinction’ (5v13), herald the Age of science, ritual (administration), hyperactivity, global friendship and standards.

Cultural maturity cycles

Maturity cycles apply to all cultures (as Toynbee demonstrated), and to cults. Revolutions, dictatorships, democracy, Communism, and their detractors fall in and out of favour. In the subconscious realm, life values are neutralised and even inverted into an ‘immaturity cycle’. Healers, monks, macabre dancers, pennants, flagellants, body hackers and conscientious protesters want to plead their causes, and our collective cause, in inverse logic. But nature requires due process (as inherent in all media such as art, ritual, architecture; and in all crafts such as divination and education), to maintain the necessary boundaries between life and death, and between logic and impulse. The shuttle to the other side must wait, and return with the passenger; or maturity is lost.

History demonstrates many cases of individual maturity, and some of collective cult maturity; but few of tribal maturity, and none of national or global maturity. Some people integrate their impulses (as in the alchemical novel Hypnerotomachia Poliphili), but the maturity curve itself does not change. Humanity remains the same. Pupils graduate, but the school itself remains a calibrator at the same level.

Geometric textures

Geometric hallucinations are projections of brain structure, stimulated by exhaustion, dehydration, sleep deprivation, dance, chant, music, migraine, epilepsy, sensory deprivation, fasting, hypnagogia, or drugs. Psychiatrist Oliver Sacks wrote in his book Hallucinations: “Perhaps such experiences are at the root of our human obsession with pattern, and how geometrics find their way into decorative arts… arabesques and hexagons in our own minds, built into our brain organisation, provide our first intimations of formal beauty.”

Axial grid model of the spatial relationship of the sixteen types (1 to 15, but repeating 5 as 5a and 5b), and four transitional types (2c 5c 9c 13c) in artworks. Orientation and radial diameters differ randomly in every work.

Recurrent motifs in cultural media

Dominant archetypal themes in any artwork, building site, myth, divination set, or other media, are revealed by extra features of one or more character. There are usually twelve or sixteen typological characters in a work. The total difference is accounted for by 1 and/or 2 opposite 8 and/or 9; 5a and/or 5b opposite 12 and/or 13. In spatial media, these characters are near the periphery, with their eyes or focal points on an axial grid, in this sequence:

Type Label; Character (archetypal features):

1 /2 Builder; ,,,, (twist, cluster, bovid, bird, tower, build, ruin, hero, book, spring, maze, pit, rain).

2c Basket; ,,,, (weave, shoulder hump, instrument, container, hat, weapon, throne, snake, secret, planet, armlink, leglink).

3 Queen; ,,,, (neck long/bent, dragon, sacrifice, queen, spring, school, fish, ram, pool).

4 King; ,,,, (squat, king, twins, rectangle, sun, bird, fish, furnace, field).

5a/5b Priest; ,,,, (colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).

5c Basket Tail; ,,,, (weave, tail, container, tree/herb, reveal, maze, disc).

6 Exile; ,,,, (ingress, egress, horned, sacrifice, small, U-shape, double-head, caprid, reptile, tree, disarmed).

7 Child; ,,,, (bag, rope, juvenile, unfold, beheaded, chariot, mace, eyeless).

7g Gal.Centre; ,,,, (limb joint, juncture, path, gate, water).

8/9 Healer; ,,,, (bent forward, strong, pillar, heal, disc, smelt, trance, canid).

9c Basket Lid; ,,,, (disc, hat, lid, instrument, reveal, hump, planet, weave, enforce, pillar, snake, metal, arm-link, leg-link).

10 Teacher; ,,,, (arms up, staff, hunt-master, guard, metal, market, disc, council, snake, ecology, school, carousel, canid).

11 Womb; ,,,, midriff,,,, (womb, wheat, water, law, felid, tomb, interior, library).

12/13 Heart; ,,,, chest,,,, (heart, felid, death, rounded, invert, weapon, war, water-work, angel).

13c Basket Head; ,,,, (oracle, head, hat, lid, weave, tree, tail).

14 Mixer; ,,,, (ingress, egress, time, transform, tree, bird, angel, antelope, felid, reptile, fish, canid, brew, dance).

15 Maker; ,,,, (churn, rope, rampant, order, bag, mace, weapon, doubled, smite, sceptre, face, canid, reptile, winged).

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


Axial centre; Unmarked /,,,, (limb joint /juncture).

4p Gal.S.Pole; ,,,, (limb joint / juncture).

11p Gal.Pole; ,,,, (limb joint  / juncture).

Midsummer; ,,,, (limb joint /juncture).

Midwinter; ,,,, (limb joint /juncture).

The solstice marker/s is/are on a horizontal /vertical plane /north-south meridian /east-west latitude.

These polar triangles place midsummer in Leo /Cancer /Gemini; implying spring and the cultural time-frame in Age Taurus /Age Aries /Age Pisces, confirmed by ,,,,,, prominence.

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

The axial grid model and table of recurrent features above, demonstrate that culture is standardised collective subconscious behaviour.

Recurrent motifs in death oracles and myths

Ghost oracles are noted in many myths, legends, fables, cultural and counter-cultural practices. Their logic is revealed only in the context of the underlying structure of natural meaning in ‘cultural’ behaviour. The main elements of spiritism tend to repeat eight stock motifs, listed here by their archetype numbers after Furter 2014, 2016, citing relevant features (and myths; ATU legend catalogue numbers after Aarne &Thompson /Uther 2011; and Tarot trumps; and decanal hour asterisms):

2c Basket, between 2 Builder/Ruiner & 3 Queen/Dragon.

Twist, dance, ergot (St Vitus, Macabre; Dance in thorns ATU 592; trump 17 Star, jugs; Perseus v Serpens).

Cave, sleep (Seven Sleepers, Beauty, Talia; ATU 410, T D1960; trump 2 Priestess; decan Pleiades).

Monster tamed (Pandora’s box, Bluebeard; ATU 312; trump 17 Star, jugs; decan Algol v Serpens).

Oracle (Baia, Homer, Vergil; ATU 463, 480; trump 2 Priestess, book; decan Algol v Serpens).

Snake prince (AT 433A; trump 18 Moon, dragons, crayfish; decan Cetus tail).

4p Celestial South Pole, between 4 King or sun & 5 Priest or judgement.

Ascension, furnace (hell, search; ATU 425, AT 475; trump 19 Sun, furnace, twins, garden, limbs; decan Pegasus).

Resurrection (Hindusim, Tammuz; T E600-699; trump 20 Judgement, limbs; decan Cetus spout).

5c Basket Tail, between 5 Priest or Judgement or Ascension, & 6 Exile or scapegoat.

Animate (shape-shift, ergot /LSD, DMT, surreal; trump 21 World, ascend; decan Piscis Austrinus, celestial South pole).

Head on plate (John Baptist, talking head; trump 5 Pope, bishops; decan Scutum, Shield).

Invoked (LSD, DMT, travelogue; T F1-199; trump 20 Judgement, grave; decan Cetus snout).

Moth-man (ditaria, Jimsonweed; trump 21 World, ascend; decan Piscis Austrinus).

7g Galactic Centre, between 7 Child and 8 Healer. Limb-joint or juncture (throne, altar, line, spiral, tree, staff); path /gate; rope; buck bag; water; vortex, manifestation (magic, D1710 -D1799 Magic. Child steals giant’s treasure, AT 328. Decan Galactic Centre).

9c Basket Lid, between 9 Healer & 10 Teacher. Godfather’s death, baptism, herb, candle (Gilgamesh; ATU 332; trump 9 Hermit, lamp; decan Serpens).

Initiate (Eleusis procession; trump 9 Hermit, lamp; decan Serpens).

Monster tamer (Gilgamesh; ATU 1115-1144, trump 10 Wheel of Fortune; decan Bootes or Farmer, to Galactic pole).

Oracle (ergot, LSD, ayahuasca, travelogue; T F1-199; trump 10 Wheel of Fortune; decan Bootes, to Galactic pole).

Type 11p Galactic pole, between 11 Womb & 12 Heart.

Afterlife guide (Books of the Dead; Grateful Dead; ATU 505; trump 11 Justice; decan Coma or Hair, Crater or Cup, Hydra or Water monster).

Cup of Fate (Joseph, Daniel, Grail; AT 922, T N-group; trump 11 Justice; decan Crater or Cup).

Gallows (Odin; AT 366; trump 12 Hanged man, gallows, limbs, junctures; decan Hydra).

Holy Ghost (trio gods; AT 1810 A; trump 12 Hanged man, junctures; decan Coma or Hair, at Galactic pole).

Invoke, levitate (séance by phlegm, spiritism; ATU 200-599; trump 12 Hanged man, invert; decan Crater or Cup).

Ghosts procession (Grail; ATU 2021-2024; trump 12 Hanged man; decan Ursa tail, Coma or Hair).

Type 13c Basket Head, between 13 Heart & 14 Transformer.

Bee queen (kills rivals, Mayan Venus; KHM 062; trump 14 Time, flow; decan Ascellus or Beehive).

Dissolution (alchemy stage; ATU ___; trump 13 Death, scythe, skeleton, horse, shards; decans Ursae or Bears or circling Wagons, Leo, Hydra).

Reaper (Death; ATU multiple legends; trump 13 Death, scythe; decans Ursa tail, Coma or Hair, Crater or Cup).

Type 15g Galactic Gate, between 15 Maker & 1 Builder or Ruiner.

Canid guard (hound of hell, Cerberus; ATU animal helpers; Trump 0 Fool, dog; decan Canis Minor).

Devil churns souls (chains; ATU 48, 594, 810; trump 15 Devil, limbs; decans Gemini, Canis, Canis Minor).

Invoked (Grimoires; T D 1740; trump 1 Juggler, table, v 8 Strength, jaws; decan Orion v Ophiuchus).

Invoked (Grimoires; T D 1740; trump 15 Devil, souls, chains v 7 Chariot, reins; decan Gemini v Sagittarius).

Oracle code (ouija board, grid, big catch; AT 1960; trump 1 Juggler, table & 15 Devil, souls; decans Orion & Gemini).

Snake of hell (Apop, Ukhu Pacha; ATU ___; trump 7 Chariot, limbs, unfold v 15 Devil; decan Galaxy v Gate).

Archetypal features were discovered by comparing 700 artworks and 100 building sites in all known cultures and styles. Death, ghosts, oracles, invocations, purge and horror-inducing drugs, tend to involve features of the four transitional types, 2c v 9c, 5c v 13c; and the two galactic gates, 7g v 15g, and two galactic poles, 4p v 11p. These eight points lie between the sixteen main archetypes as borderlines or transitions.

Archetype projects nature and culture in a hologram

Recurrent motifs in afterlife visions and myths, demonstrate archetype, not an ‘alternate reality’. Reality is a complex hologram of layers and feedback loops of nature, perception and expression, rooted in an eternal potentiality that sets bounds to apparent variety, to popularity (things that ‘catch on’), and even to meaning itself. “There is no straightforward way to explain what makes fables popular,” notes a cultural encyclopaedia (McCormick 2011). Most scientists in the humanities recognise archetype, yet consider it a by-product of fancy and diffusion: “Beasts in bestiaries are stereotypes, or archetypes… by universal popular consent.” (Walker 2013). The common-sense theory named inter-textuality (Kristeva 1966, 1980), holds that texts are inspired by old ‘original’ stories that happen to catch on (Biesele, cited in Lewis-Williams 2012), modified by local culture (Lewis-Williams and Pierce 2012), in a kind of palimpsest of borrowed fragments. But these views of ‘consent’ contradict the very concept of archetype as pre-existent. Only certain stories catch on, retaining their clusters of motifs (as in the mindprint list above), irrespective of passionate appropriation by competing polities.

Universal use of the same myths indicates that there is only one culture. Necromancy seeks to bypass difficult cultural and individual processes of grief and maturity, to gamble with death for a peek at what may lie beyond, preferably aided by a dear departed soul; and to try to sneak past death; or sneak into heaven. Invocation resembles asking someone at the back of a crowd about what is going on at the centre, but there is always a market for curiosity and gossip. Our eternal task is to integrate life and society; conscious and subconscious. Acknowledging that some behaviour is hard-wired, is taboo to ego; and our collective subconscious is doubly taboo to our collective ego. Yet we all subconsciously re-express eternal, natural archetype in all cultural media.

This post is Part III of Ayahuasca oracle of the dead as counter-cult; a draft chapter for the planned book, Cult and Culture Code. By Edmond Furter, author of Mindprint 2014; Stoneprint 2016; and editor of Stoneprint Journal. Visit: or or or


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Ayahuasca Oracle of the Dead counter culture

Ayahuasca oracle of the dead as counter-cult. Part II: Pandora’s box

Necromancy, magic invocations, opening doors between living and dead, or revelations tend to go wrong (ATU legend 676; or type 9c Lid); or to simply confirm fate, chance and truth (ATU 780 -799; 9c. And ATU 930-949, fortune, enforcement; type 10 Teacher). The vase or box of Pandora or Blackbeard could now be identified as the four transitional types or c-types (see the Recurrent Features sections in Part III. See a Roman marble coffin with mythical characters, including a Basket of mysteries or cista, in Furter 2014; Mindprint). Artists rarely express transitional types, except in oracle or death themes. Builders express transitional types more often, particularly in mythologised sites (see Rennes les Bains and Rennes le Chateau site plans on or Delphi temple precinct plan in the article Blueprint on

This article is Part II of three parts of a draft chapter for the planned book, Cult and Culture Code. By Edmond Furter, author of Mindprint; and of Stoneprint; and editor of Stoneprint Journal.

Pandora’s Box, vase, or basket of mysteries, cista mystica (type 2c Basket), is accidentally opened (9c Lid) by her husband Epimetheus, brother of Prometheus. Socio-economic growth and maturity bring gifts and horrors. Population raises the difficulty of maintaining peace and civilisation.In Works and Days, Hesoid elaborates the idiom of Pandora’s storage jar of wine, oil, grain, burial ash, bones, or wishes. Pithos, jar, was later mistranslated pyxis, box, by St Erasmus (1508; Proverbs, or Adagia). What seems valuable may be a curse; what seems clear in logic may be a can of worms in subconscious, psychology or ecology. Since Prometheus (smith and devil, ATU 330, KHM 081a; metals 9c 10) stole fire from heaven (ATU A 1415; 9 9c), king Zeus gives Pandora, clay woman (Mud Person in Hopi myth), with a jar of wishes to Prometheus’ brother Epimetheus, Afterthought. She opens the jar, or social capacity for chaos, releasing sickness, death and evils. She slams it shut, but only Hope or Forethought remains captive. Ossuary jars symbolise bodies that allow souls to escape or return. In Erasmus’ version, Epimetheus opens the box without forethought and is startled. Our most familiar evil is wishful thinking or false hope, banking on chance instead of judicial conduct against fate (ATU 930 -949; 10 Teacher, 11 Womb). Hope is best used in small portions. Saints embrace hardships rather than vain hope. Zeus, Prometheus, Christ, St Anthony and spiritual heroes are tormented and tempted, but endure, to find and spread healing (AT 1135, 9 Healer) against spiritual horrors. Afterlife gains and losses differ from physical or conscious values.

Ge Nikolai; Witch of Endor conjures Samuel’s ghost for Saul (archetypal labels and axial grid by E Furter). Minimalist artworks use some limb-joints as characters; here 3, 4, 6, 9 and 10. Type 7 is often eyeless; here the sword hilt. Type 11 Womb is the witch’s midriff (womb); 12 Heart or Death or ancestor is the ghost; 13 Heart is the witch’s chest (heart); 14 Mixer is the witch.

Canaan’s pits of ghosts

The Old Testament notes two kinds of death oracles in Canaan, and probably in Babylonia, where the Hebrew books were written down; mediums relay a ghost from a ritual pit, but necromancers visit the dead directly, or enter the pit. Prophets condemn necromancy (Ez8:17; Hos4:12) and all forms of magic as ‘unclean’ and punished by exile (Lev 19;31, 20:6). Do not inquire of the dead (Deut18:9). Works of the flesh, sorcery, will not inherit the kingdom of God (Gal5:19). Worse than death, there is a lake of burning sulfur, or second death (Rev21:8). A girl possessed with a spirit of divination or python, brought her masters much gain by soothsaying (Acts16:16), perhaps a roaming Greek pythoness, similar to the ‘released vision serpent’ in Mayan myth (AT 155, type 9c). Funerals and tombs are dedicated to the underworld mainly in appeasement, as in the Roman formula, Dis Manibus Sacer fecit, DMS, Adorned for Ghosts of the Dead, used up to the 1800s. Seeking value in the province of death may be fit for gods, but runs counter to mortal dictates.

Churn (15g) of milky ocean (15g) of Vishnu, who expresses 15, analogous to Gemini (here labelled ge15). Gemini held midsummer in Age Pisces (Rig Veda illustration, after Kangara. Cosmology labels, archetype numbers, and axial grid by E Furter). Archetypal midsummer or Mt Mandara (tower 1) was in Taurus, but had moved with precession. Current midsummer is in the galactic gate (15g) between Gemini and Taurus Auriga-Orion.

Indian Vedic visions of light v dark, good v evil

Indian cultures use soma mixtures of wine, fig juice, milk, honey, herbs; with regimes of night wakes, recital, meditation; vast literature; religious ritual; and art conventions, to sustain epic surreal cosmic visions of the eternal battle between good and evil. Indian media integration includes alchemies of personal, chemical, metallurgical, mathematical and spiritual practice. The pot or brazier on Indian Harappan seals may have held a filter to press soma, the drink praised in the Vedas, perhaps extracted from ephedra; or a flame to burn incense, cannabis or opium ( 2019). Drugs alone do not deliver revelation, enlightenment, maturity or a better life or afterlife. Hindu and Zoroastrian practices have many parallels in other cultures on every continent. Studies of soma reveal that these cultures are sustained by archetypal features in nature, society and perception itself.

Churn (15g) of sky rope (15) in Mayan codex Tro-Coresianus (after De Santillana et al 1969. Archetype labels and axial grid by E Furter). Some features may derive from India, but some characters, ‘rope of the sky’, and the same archetypal structure, appears in art and rock art worldwide.

Mayan Mexico had rituals in the form of vivid paintings of gods and heroes on high, converging cornices, over benches. One priestly dynasty with long skulls, prone to integrative visions, bound the skulls of their children to enhance either oracular or artistic skills. Their drug of choice was distilled maize beer alcohol, administered by enema.

Some priests and healers specialise in gymnosophic practices to induce waking sleep, thus gaining conscious access to dream visions. Sleep deprivation by ritual, chant, and adrenaline-like stimulant plants such as Ephedra, delays the natural rebound of slow brain waves to the early hours, when the practitioner may take a sip of soma, perhaps containing hermaline from Syrian rue, similar to mescaline and ayahuasca (Nyberg 1995) to over-stimulate the visual cortex. Ephedra is not hallucinogenic (Falk 1989), but induces fight or flight anxiety, which may add some horrors to the personal battle to integrate experience into the collective subconscious struggle between rival individual and social urges. In any mature culture, archetypal visual grammar or epic play a part (Nicholson 2002), and halucinogens play a minor part. Culture is not based on a drug. A drug could not induce culture. Culture seeks to integrate the spectrum of experience, behaviour and nature, into individual, social, and potentially universal enlightenment. It usually falls short, but its absence leaves a vacuum for a default culture of the lowest levels of needs and wants, which breeds the kind of chaos that invites fundamentalist populism and lowers life quality to Divide and Kill culture.

Medieval Macabre dance troupe, 1700s. Members were paid in wine spiked with herbs.
(After Wellcome Library, London,

Macabre theatre rehearses for horror

After Black Death plague waves in the Middle Ages, age-old macabre rituals entered mainstream European Christian culture. Ancestor worship, penitence and death rehearsal may scare off death agencies. “Danse Macabre was performed by ensembles, including clergymen… provocative… dramatic antics to instil fear… in cathedrals after mass, and in cemeteries, with participants paid in wine… theatre groups toured the countryside… Macabre may recall Maccabees, Jewish martyrs who revered their dead.” (Gough 2010). Maccabees rebelled against Rome in a suicide cult to join their ancestors (type 13).

Grunewald; Isenheim altarpiece Third View doors, 1500. Left are St Anthony (7 Child) and St Paul (6 Exile or Pan) served bread by a raven (5a Priest). Right is St Anthony (13 Heart) tormented by temptations and horrors.

St Anthony treated bread ergot with mandrake root

St Anthony fought visions of temptations and horrors for 20 years on Mt Pispir (Dayr Maymun) near the Nile. While fasting, the devil would show him bread, beasts, women, soldiers or lashing. He endured by repentance. From 305 he instructed and organized a monastic creed that lasted into the 1900s. After persecution ended, he moved to an Eastern Desert mount (Dayr Mari Antonios), visiting Alexandria twice. Hospitallers of St Anthony was founded in 1100 near Grenoble, France, a pilgrimage site for sufferers of ergotism, St Anthony’s fire, from Claviceps purpurea fungus in bread, causing gangrene, mania, hallucinations and psychosis. Ergot outbreaks were frequent in the Middle Ages. Mystical movements and art schools tried to interpret these hallucinations (Dotz & Packer 1998). Antonian cures included distilled anaesthetics from dried mandrake root, a narcotic hallucinogen (pictured as a character in a Bosch painting); amputation; pork; and meditation on images of worse suffering, such as John Baptist, Christ and St Anthony. Some recent proposals to cure drug addiction, also involve psychedelic drugs.

Salvador Dali; Galatea of the Spheres, 1952. Cubism and surrealism express textures and themes of types 7 manifestation, 12 dissolution, and 14 transformation, are well known in alchemy. These art styles were partly prompted by discoveries in chemistry and physics, enabled by electricity. Cubism resembles geometric textures of DMT visions. Cubist art may have responded to discoveries of atomic particles and the role of energy in ‘matter’; and some artists were prompted by publicity of rock art, to use geometric shapes among figurative shapes.

Industrial spiritism conjures celebrities
Spirit mediums revived at séances in the 1800s. Novelist Sir Author Conan Doyle was an avid spiritualist. Sisters Margaret and Kate Fox founded modern Spiritualism or Spiritism in New York, using rappings to convince their older sister Leah and others. Hundreds of fakers took advantage, and many confessed, but the movement had instant social momentum. In July 1930, a week after Arthur Conan Doyle’s death, thousands of people attended a séance at Royal Albert Hall in London. Four years later, on 28 April 1934, ex Russian Noah Zerdin, who had lost his wife and fur business in a fire, hosted a séance at Aeolian Hall, New Bond Street. Here 44 people, including Doyle, were heard speaking ‘from the other side’ and recorded on gramophone acetate discs. In 2001 Dan Zerdin, Noah’s son, re-discovered the records, now in the British Library and posted on Internet.

Para-psychology categorise mediums and extra-sensory perception (ESP) as information about a live or dead person via intuition or impersonation. Both of these mechanisms are used by artists, mythographers, prophets and priests to tap into archetypal features. Apparent conjuring of ‘answers’ and celebrity ‘contacts’ from thin ether, is part of the allure of electronic ‘social’ media. Recipient perception, interaction and selective memory also play a role in finding apparent meaning in oracles and other media, but events or site features, diviners and querents collude to express archetypal structure in oracles; as they do in using the I Ching (Jee Jing); and as they do in towns and temple fields (Furter 2016; Stoneprint, the human code in art, buildings and cities).

Archetype shapes inspiration

Psychedelic gurus William James and Aldous Huxley (1954) noted that some drug trips resembled mystical ecstasy or enlightenment (Roche 2018). But some trips resemble religious illusion, cult superstition, madness or misery. Glimpses of an inner Self require a quest of decades across a sea of inner Shadow, and back to integrate subconscious and conscious egos. Weston La Barre (1979) and Peter Furst (1990) saw drugs at the root of religion, but San spiritual rites, Aztec mania and many other mystics are drug free. James Kent, in Case against DMT elves (cited in McGreal 2014) explain DMT visions as chemical overload at serotonin (5-HT 2A) receptors, disrupting visual processing and hyper-activating imagination into colours and textures, which the brain combines with subconscious fragments in search of known meaning, as it does in dreams and fantasies. Our tendency to see regular or humanoid features in blots, apophenia, or gestalt is recognised in science (Furter 2014 devotes a chapter to our perpetual search for meanings already hard-wired into nature and experience).

Kent proposed that individual Hyperspaces were different (after Van Elk 2013); and people with high temporal lobe activity (Persinger & Valiant 1985) tend to see entities without drugs (Thalbourne, Crawley & Houran 2003); and consistent details between trips and trippers; or information that a tripper did not know, could evidence an alternative reality (Rodriguez 2007, in McGreal 2014). But universal details confirm that visionary landscapes are archetypal, pre-existent, or ‘carrier waves’ of nature and culture. Thus subconscious inspiration is not ‘alternative reality’, but direct glimpses of the underlying pattern hidden among compelling and confusing details of conscious motivations.

Gruber 1660c; Kabbalistic teaching board of Princess Antonia (who stand in the foreground) and her team of advisers, at Bad Teinach resort town church. The work subconsciously expresses three interlocking mindprints. The garden and the building share their types 5c Tail (here labelled CisTail) as a prophet (oracle) in prayer with a scroll (texture) on a griffin (mixture, sacrifice); and types 6 Exile or Capricornus (here labelled cp6) as a prophet in the field gate, with scroll and oracle pot (sacrifice).

Religion and esoterica are vertically integrated, horizontally divided

Socio-religious wars of the Protestant Reformation and Catholic Counter-Reformation were waged in sermons, ink, paint and blood. After the Thirty Years’ War, mainstream Christian mysticism temporarily integrated its own esoteric counter-cults of astrology, Kabbalah and alchemy into its art and ethic. The Bad Teinach altarpiece (shown above, again demonstrating the standard archetypal labels and axial grid) is one example of ‘vertical’ cultural integration, but ignored rival cultures, as usual. Re-discovery of the Gospel of Judas (Kasser 2006) demonstrated that the Judaic rebel cult ascribed to John Baptist and Christ had a distinctly Gnostic layer, but opposed Roman globalisation. Every culture believes it ‘preserves’ an ultimate truth. Rome had pagan mysticism; and had adopted Persian Zoroastrian mysticism; all later ironically integrated Judaeo-Christian theology that Roman slaves had already adopted as struggle ideology. Roman elite at Baia, shuttling to the capital by chariot or by boat across the Bay of Naples up the Tiber, lived literally on top of the ancient Oracle of the Dead, but ironically the state that honoured all foreign gods, blocked up this local oracle in its thermal resort suburb.

Evolution is the new alchemy

Industrial England was searching for a new ethic when European intelligentia adopted Darwin’s theory of biological evolution as secular justification of exploiting natural energy, and colonising resources of ‘backward’ cultures. The popular view of evolution is as old as humanity, but systematic documentation of its biological base, and theoretical polemic was new. The book, Origin of species, and rational, anti-church dialogue, gave adherents a model for ‘racial’ and individual superiority that seemed to override ethics by logic. But even evolutionists acknowledge that humans are not known to evolve.

Terence McKenna (1989) proposed extending the definition of evolution to technology: ‘Evolutionary biologists consider humans an un-evolving species… with the invention [plural] of [material] culture, biological evolution of humans ceased, and evolution became an epi-genetic, cultural phenomenon [broad evolutionism]. Tools, languages, and philosophies began [?] to evolve [?], but human body type remained the same… technology is the real ‘skin’ of our species… in the last 500 years, we extrude technological material… All our tools imply belief in an ultimate tool… flying saucer, or soul, exteriorized in 3D space. The body can become an internalized holographic object embedded in a solid-state, hyper-dimensional matrix, eternal, as we each wander through a true Elysium.’ Thus even the counter-culture that cultivates subconscious introspection, sees our species as heroic makers and developers of culture in an evolutionist ‘relay’ paradigm; despite biological, philosophical and psychological evidence that unchanging archetype shapes and predicts our collective behaviour (including afterlife forays); and that technologies follow population density in predictable maturity curves…

This post is Part II of the article; Ayahuasca oracle of the dead is a counter-cult to Divide and Kill culture, a draft chapter for the planned book, Cult and Culture Code. See the other two parts in other posts on By Edmond Furter, author of Mindprint; and of Stoneprint; and editor of Stoneprint Journal.

Ayahuasca Oracle of the Dead counter culture

Ayahuasca oracle of the dead as counter-cult to Divide and Kill culture. Part I

Our innate impulse to divide, rule, demonise and kill ‘others’, is legitimised by competing polities and nations. Mainstream Divide and Kill culture is measurable by defence budgets, news headlines, and war game addiction (Gervasi et al 2017). But Divide and Kill culture, and its creeds of ego, elite ops units, spies and glory-or-death gamble; prompts counter-cults of defection, gangs, gurus, and gambling on a mumbled oracle. Dissent serves our innate impulse to seek peace, spiritual competence, maturity and meaning via universal ethics and gnosis. Oracles of the Dead offer to invoke the Great Equaliser; to seek subconscious justice against physical might; to conjure ancestors and enemies; to gamble or bargain with heaven; perhaps to ruin hell; to judge self and others; rescue the righteous; purge; and live to tell the tale. Ayahuasca tours and suburban cells worldwide is our current oracle of ghosts, apparently offering a shortcut to the difficult quest for integration via outer and inner Egos, Shadows, Animas and Self. But necromancy requires as much strategy as war.

This article is Part I of three parts of a draft chapter for the planned book, Cult and Culture Code, by Edmond Furter, author of Mindprint; and of Stoneprint; and editor of Stoneprint Journal.

War game Call of Duty version Three cover art (after Wikia. Archetype labels and axial grid by E Furter). Three characters in the left margin are cropped off here, but shown in earlier versions. Later versions delete some characters at top right. Here type 10 Teacher is eyeless, a rifle muzzle instead of the more usual staff of quest, balance, or wisdom. In battle scenes without a female character, type 11 Womb is usually expressed by a vehicle or container, here by the bayoneteer’s ammunition pouch. Type 13c Head is character 13-14’s hand grenade.

Conscious culture is destructive

Our exploding population entrusts our resources and fates to ever larger polities, under fewer and more distant leaders; against ever larger and more distant enemies. Populist, fundamentalist socio-economic politics reduces identity, humanity and meaning itself to stereotypes (Giunta et al 2018, citing Jung 1916, 1975; Winnicott 1968; Zoja 2009; Pergola 2010; Sideli et al 2018). As our institutions grow larger, they trade in shorter terms and lower levels of material and spiritual aspirations; and offer justifications, recognitions, escape mechanisms, projections, and mild penalties for excesses. Patriotism is an addictive habit.

Subconscious culture hints at a map

Ayahuasca’s visionary variability, uncertain outcomes, and apparently ‘exotic’ pedigree, are part and parcel of its gambler’s allure. But aya visions also induce many character features that recur in all cultures and cults (see the Subconscious Keys section below). This article demonstrates that the source of culture and cult is archetype, not supposed ‘invention and diffusion of cumulative cultural memory’ (see the Trance Dance section below). The main difference between aya and other drugs (see the Drugs section below), is that aya prompts visions of life and death, heaven and hell, culture and cult, in surreal mixtures. Trippers may encounter a god recognisable from a myth, after spies, goons and sexy models recognisable from psycho-drama movies (Traveler 2009). Trippers have little control of visionary episodes. McKenna (1989; New maps of Hyperspace) noted the need to map the subconscious landscape. Some websites invite reports for collating and comparison (DMT Times; Manifesto). This article notes clues to physical, ritual and Gnostic preparation for the trip, in sources ancient (see Gilgamesh, and Osiris below), classical (see Odysseus, Eleusis, Pandora, and Vedas below), religious (see Canaan below) and anthropological (see Recurrent Features below). Structuralist analyses of the layers of subconscious behaviour in artworks in this article, and the tables of archetypal features, offer a format for this unfolding map of behaviour, perception, nature, and ultimately parts of archetype itself. Physical, spiritual and social risks and hazards of the long journey to maturity, are multiplied in the apparent quick fixes of war or necromancy. Spirit houses in Thailand (Brown et al 2017) are among many examples of the need to separate the living and the dead, and to ritualise any breaches in the great divide between life and death. The Tibetan Book of Life and Death (Book of the Dead, Bardo Todol) offers prayers to guide a departing soul, and to prepare still living relatives, to safely cross the Shadow land of startling masks and monsters. The philosophical, Gnostic and psychological ideal is to understand and tame Ego, Shadow, Anima /Animus and Inner Self, not to get stuck or lost in the subconscious.

Wrestling personal and social Shadows

Oracles of the dead support our eternal quest for self-discovery, from Gilgamesh’s trip to pre-Flood Utnapishtim; via Egypt’s Hall of Judgement; pre-Etruscan tunnels in the Bay of Naples at Baia; Homer’s Odyssey; Ephyra; Hades; Eleusis; Pandora; alchemy from China to Europe; Maccabees; Crusades; Mayan vision snakes; Dante’s Inferno; Colonna’s Hypnerotomachia Poliphili; and psychedelia, to Death Rap rhymes. Certain plants, mites or fungi are used in elixirs of fume, smoke, steam, ferment, urine or blood, to prompt a parallel psychic process. The quest starts in conscious darkness. ‘Enlightenment is not from imagining figures of light, but from making darkness conscious,” noted Jung (1945). Even rational Western culture recognises that Inner Self, collective subconscious, and utopia lie beyond Ego, Shadow and Anima, in the realm of angels, gods and archetypes. Getting there requires quest, judgment, and purge of a vault of repressed, unsocial, unbalanced, un-integrated, supposedly ‘externalised and outsourced’ health and environmental debit.

To tip the environmental and economic scale in favour of the necessary global co-operation, Giunta et al (2018) propose self-knowledge, to “expand our visions of interaction, and configure a common living space to share gifts and privileges.” Some eras in the Indus Valley (Pakistan), India, China (Chou or Djou dynasty, when philosophers formulated natural structure into the I Ching or Jee Jing archetype oracle), Australia, New Zealand and elsewhere, demonstrate that national utopias remain attainable. Other eras, particularly in the Mideast, Europe, and Easter Island, demonstrate that living hell is our default condition. It takes more than education and popular psychology; and strong leadership, to tame the inherent greed by which dominant cultures degrade the average quality of life. We divide and rule ourselves by re-styling the same behaviour to look like different ‘cultures’; and by layering each ‘culture’ into classes. We rally against ‘foreigners’ while our sheer numbers demand global economy, as the EU recognised. It may take supernatural masters or ‘alien’ enemies to enforce collaboration, and to recognise that we all share the same culture with different branding.

Death diagram of an Amun boat or ark (after an Egyptian Book of the Dead or Manifestation. Decanal hour constellation labels and axial grid by E Furter). Type 5a Priest or Aquarius as the dead body, lies in the underworld, below 5b or Aquarius as sun hawk Horus upside down (invert), its axis extending to the solar plexus instead of the more usual heart (types 5a or 5b often express the heart of 12/13 opposite). Symmetrical designs always introduce some ambiguities, as they do in ayahuasca art. Cosmograms are not star maps, despite type Mixer or Cancer here as a Dung Beetle or Kephera determinant. Horned Amun with the Age Aries spring sun, is usually type 3 Queen or Aries, but here he is 13 Heart or Leo, former midsummer sun host.

Subconscious keys to behaviour and meaning

Raising subconscious behaviour to conscious understanding, requires a map of perception and meaning itself. Since ‘the beginning of wisdom is to call things by their proper name,’ as Confucius noted about BC 400 (Traveler 2009), then we should identify the content and source of recurrent behaviour. A multi-disciplinary study of psychology, structuralist anthropology, sociology, philosophy and art history, applied to the global cultural record from the Ice Age to Gobekli Tepe and modern data (Furter 2014; 2016, revealed archetypal structure as the source or ‘periodic table’ of nature, culture and meaning itself. This article cites archetypes identified in legends, by their Aarne -Thompson -Uther (ATU) catalogue numbers, after Uther (2011). The ATU catalogue still excludes major myths, and is Euro-centric (Le Quellec et al 2019). This article also cites archetypes in cultural media worldwide, by mindprint numbers and labels (see the table in the Recurrent motifs sections below). We subconsciously express sixteen clusters of features, attached to cultural characters which have their eyes or focal points on an axial grid (Furter 2016; 2018. And in structuralist artwork analysis examples in this article). Death and oracle features in cultural media often express two axial opposites, or flip sides, in one; such as 5 Priest or Ritual, versus 13 Heart or Death. This 5 versus13 or 5v13 axis frequently interchanges their features, indicating that integration of opposites is inherent to ritual, oracle and death themes. Oracle themes also often express the four half-types (c-types) and four galactic features (two p-types and two g-types. See the table in the Recurrent motif section below).

War types and oracle types

Persistent motifs in afterlife quest myths, reveal the archetype and source of Death cults as a cluster of meanings, including death oracle (Grateful Dead legend, ATU catalogue number 505; archetype 13c Basket Head); and reincarnation (ATU E600 -E699; type 12 Heart or Inverse); and hat, lid, weave, tree or time. These features, often cited in Hyperspace ‘tour’ reports (Mc Kenna 1989), are now identifiable and measurable as part of archetypal structure.

Mainstream Divide and Kill culture also has a cluster of repetitive features. ”An average American youth sees 200 000 violent acts on TV before age 18,” reported AAFP (2019). ‘Action’ series body counts run over 20 per episode (Funeralwise 2019). Shakespeare demonstrates the limitations of virtual tragedy in his play Titus Andronicus. War ethic is grand tragedy, but in ‘entertainment’ it is dumbed down to panoramic voyeurist violence, thinly justified by revenge for an ancestor (ATU E200 -E599; type 12/13 Heart or Death, inversion, weapons, war, water-work, or angel); or by territorial gain; or by uncertainty of peace (such as the Cold War); and by ‘license’ to kill. Culture and counter-cult both manifest within the bounds that eternal archetype lays down for matter, energy, nature, behaviour and meaning itself.

Akkadian cylinder seal rollout of Enkidu bull-man (left type 15) and Gilgamesh ram-man (left and right type 3), visiting ancestor Utnapishtim or Noah (right 6, holding a 5c herb) in his reed boat (copy after Bibliotecapleyades. Archetype labels and axial grids by E Furter). Double imprints are ‘geared’ by sharing some characters. Among the polar markers, always in certain sectors, usually on limb-joints, is the scorpion sting as Midwinter. The time-frame of both cycles is Age Taurus-Aries. All the layers of archetype are subconscious, in all complex artworks, building sites and cultural sets, of all cultures and eras.

Gilgamesh found a herb, oracle, and ancestral tale

The oldest known story in the world, Sumeria’s Gilgamesh epic, starts with a king weary of war and his own domestic exploitation, setting out to seek an inner Self. He breaks the taboo against looking back (ATU C961.1; type 2, twisted posture), to visit a swamp in Aratta, northern hills, Land of the Dead, to talk to the Ultra Wise, Utnapishtim, who had survived the Flood. Parts of the Noah story in the Bible continue Sumerian via Babylonian versions, sustained more by archetype than imitation. King Gilgamesh, nicknamed ‘Heart (type 13 Heart) of the People’ (type 5, assembly), dug up tablets to read of former civilisations. He is the first known anthropologist. He lives beyond his city’s means when his uncle dies (godfather’s death, ATU 332, KHM 44; type 12 Heart Invert). His reminder of death, or memento mori (ATU 2021 -2024; 13c Head) sparks early midlife crisis. Consoled by a new friend, bull-man Enkidu (type 1, bovid), he takes a grand tour or quest; tames animals (ATU 1115 -1144; type 15 Maker); finds a herb of immortality in a pool (AT 2044; 5Cv13c); but a snake steals the herb (ATU 554, KHM 17; 9c Basket Lid). They are consoled by beer (type 14 Mixer, transformer). Through a reed wall oracle (AT 480; 2c Basket) Gilgamesh hears of judgement (types 5Av12), catastrophe (AT 20 C, A1000 -A1099; type 1), and survival or resurrection (types 5Bv13). Similar features play identical roles in trance and ayahuasca visions.

Judgement of the dead on a late Egyptian papyrus (after British Museum. Archetype labels and axial grid by E Furter). Judge Osiris here expresses types 13c Head, 12 Heart (axis on his chest) or Death, and 11 Womb of afterlife (axis on his midriff pouch). Guide Anubis, here 10 Teacher (arms up), weighs (balance) the feather of Truth or Maat, against the heart (here 7g) of the dead (here 9 Healer, who could gain ‘True Voice’ or Justification). A Baboon of Thoth (here 7 Child) tips the scales. Local goddesses intercede: one transfers sins (6 Exile); one holds a Blue lily drug (5c Tail). A priestesses (5 Priest) works a ritual at the afterlife door (juncture, 4p), with the spell’s top eye hieroglyph as a character (4 King). A priestess of Isis (3 Queen) faces the falcon of Horus (2 Builder /Ruiner); another resurrects (15 Maker) at the embalming table (14 Mixer). Midsummer is on the Horus perch (juncture) or claw (limb joint); midwinter on Thoth baboon’s moon hat. Each culture uses the same features, in different styling, to claim spiritual resources.

The Egyptian Book of the Dead includes 42 Declarations of Innocence, as preparation for negotiating the land of the Dead. Religious reformer Thomas Cranmer had incidentally declared 42 Articles of faith; the last being against eternal damnation (he probably did not have access to the Egyptian text, as we have now). Cranmer was burned in the real world for his efforts. In the nonsense poem Hunting of the Snark (see another post on at Archetypes in Hunting of the Snark), the Baker has 42 boxes; is abducted by a spirit; pays a ransom; but loses logic and disappears in ash.

The Egyptian Innocence text is a precaution to enable return and not being captured by spirits; “a multitude will arm themselves against you to seize you… three sit there as toll collectors… and take away souls by theft.” This resembles episodes in Homer’s Odysseus (see below); and temptations of saints such as St Anthony (see Part II). “Their guard will say to you, ‘Who are you or where are you from? This challenge resembles aya tour reports by McKenna, and on DMT Nexus (2009). The recommended answer from this Egyptian wisdom literature is: “Say to him, ‘I am from the Pre-existent [archetypal] Father, and a son in the Pre-existent [archetypal] One’… say to him, ‘They are not entirely alien [foreign], but from Achamoth, the female. These she produced as she brought down [manifested] the race from the Pre-existent [archetypal] One. So then they are not foreign, they are ours… and she is from the Pre-existent [archetypal] One. At the same time they are also foreign, because the Pre-existent One [archetype] did not have intercourse with her, when she produced them.’ (Incidentally, this text is one of the extant models for the Gnostic and Christian allegorical mystery of virgin birth.)

Ayahuasca users should expect similar challenges by ‘tollgate keepers’, yet few make any kind of preparation at all (as Barbelo challenged one user in a comment on an aya thread on Oracles are not merely pharmacies. The supposedly short or fast route to the land of death, requires as much effort as the tedious self-search, integration, maturity, spiritual practices and rituals that it seeks to bypass. Since ayahuasca is currently the major counter-cult, anthropology should study aspects of behaviour (religion, ritual, gods, angels, spirits, icons, archetypes) that all the human sciences have studiously avoided, fragmented, and even ignored. Popular ayahuasca literature should include all the Books of the Dead (Egyptian; Tibetan; Mayan and more), and studies of archetype as explored by Plato, alchemists, Jung, Levi-Strauss, and structuralist anthropology.

God of the Dead, dissected soul, Osiris

Egyptian God of the Dead, Osiris, expresses several types (Cavalli 2010), thus including transformation (AT 514; type 14 Mixer). He is tricked into a coffin (container 13c, interior 13, womb 11) by his brother (doubled 15) or uncle, who is underworld god Seth (15 Maker, soul churner); thrown in the Nile; drifts to sea (water-work 12) and underworld (11p); mates with his second sister Nephthys, washes up at Byblos in a cedar tree (ATU 1052; 14 Mixer. And man to object D200 -D299; type 14), used as pillar (9 Healer) for a palace roof (9c Lid). Seth dismembers him (13 Heart, dissection) and scatters fourteen (time, calendar, 14 Mixer) pieces over the world (5b v13), which his sister-wife Isis collects to transform (D 10-99; 14 Mixer). Jackal-man Anubis (canid 15) helps to rebuild (re-create A2600 -A2699, E0 –E199; 5v12, 7v15) him, but his genitals (4p, 5c Tail), eaten by fish (4p), are replaced by wood (tree 6). Isis and Osiris’ ghost (ancestor 13) beget strong Horus (bird 2, former spring 2) and crippled Harpocrates (child v doubled, 7v15; unfold 7g v15g]. Osiris’ ghost (ancestor E200 -E599, type 13) trains Horus for eternal battle against Seth in marshes (borders 7g v15g); and judges (5a) souls of the dead; and shares immortality (Osiris summary after Erdinger, cited in ARAS 2019). Osiris expresses two processes (double 15); leaving and returning to Egypt; as well as physical and psychic deaths and resurrections (re-create, end-start 15, 15g).

The Osiris myth cycle has counterparts in all cultures, including Greece. When Hades abducts Persephone, Demeter searches for her, and she spends half the year on either side of death or consciousness. Erdinger notes iconic episodes in myth, that depth psychology equates with integration of four parts of Self; Ego (double, 15 Maker) encounters misfortune (15/0) on meeting its devil brother /sister or Shadow (double 15); Ego enters a chest (womb 11) at sea (11p); is dismembered (limb-joints 7g), dissolved (formless, buck bag 7), decapitated (7); Ego and Shadow via Anima /Animus is collected, embalmed, immortalised (manifest 7); to become Self or Djed pillar, tree, obelisk, spine (4p). This Egyptian myth expresses four types analogous to the four galactic points or crossroads (as in Peruvian myth), consisting of two galactic poles (4p v11p) and two galactic gates (7g v15g).

Alchemy expresses the same archetypal process, but anchored at the four ‘large’ types (2v9 and 5v13). In the alchemical text Splendor Solis, for example, a swordsman (weapon, scythe 13) dismembers (12) a body, as conscious assimilates subconscious for integration and individuation.

Popular pseudo-official afterlife guides

Every culture claims some knowledge of, and influence over the afterlife, using myths, scenes, maps and rituals. Guidance to departing spirits include Egyptian Book of the Dead (Manifesting by Day); Tibetan book of the Dead or Bardo Todol (‘Do not be deceived by terrifying masks, they are harmless, stay calm and continue to heaven.’); Revelation in the Bible; angelic and demonic hierarchies; or Hyperspace (McKenna 1989). At Abydos, Egyptian gods of the dead were revered at the tomb of king Seti I, named for Seth, a re-creator (15 Maker). Osiris (see above) persisted at Abydos up to AD 75. Serapis (snake 9c Lid, 10 Teacher) was invoked here, and lived on in Roman Empire marketplaces (trade 10). In Egypt and Greece, Osiris and Serapis were partly replaced by Bes (monster 2c v9c), whose Abydos oracle (revelation 9c) was closed by Romans in AD 359. Despite official theology and guidance, there is always a market for first-hand glimpses of heavenly pleasures or hellish horrors, and oracles sell such otherworld glimpses (F0 -F199; types 2c v9c, 5c v13c, 7g v15g, 4p v11p).

Oracle of the Dead at Baia, Bay of Naples, Italy, re-discovered by Paget in WWII, published 1967 (tunnel plan with satellite map overlay after Oracleofthedead). The tunnel runs west, ending in long ‘intestinal’ loops over underground water features.

Counter-cults use oracles of the dead

The Oracle of the Dead in the Bay of Naples at Baia or Pouzzouli was one of the famous spiritual pilgrimage sites that the Greek world inherited from an unknown culture (Paget 1967. Temple 2003). Perhaps an outpost of Sumer, Egypt, ‘Amazonian’ steppe nomads, or proto-Etruscans, these precise tunnels run through hard volcanic tufa to an underground stream named Styx. The short entrance tunnel is aligned to midsummer sunrise, the long final section deep underground aligned to midsummer sunset (Paget 1967). These alignments may date to Age Taurus, when the spring sun was at Pleiades, and midsummer sun at Leo heart star Regulus. Odysseus stopped here on his way home from the Trojan War.

In Greece, Delphi issued riddles to promote learning, philosophy and diplomacy, and hosted treasuries and monuments as a kind of UN campus. But in Greek Italy, Baia took wealthy, troubled clients via purging potions, vivid mural paintings, herbal drug baths, sleep deprivation and fumes, down long passages, across an underground steam in a barge, to see actors dressed as shades of departed spirits (Temple 2003). As the practice commercialised, the trips became more profitable, more standardised, less well prepared, leaving clients dazed, intimidated and melancholy for the rest of their questing lives. In Roman times, Baia became an elite suburb of senators and emperors. Caesar left home from here on his fateful day in March BC 44. Slaves in Italy from many parts adopted the Oracle of the Dead as their spiritual centre. Early Christianity gave them struggle theology, ironically based in a ‘chosen race’ narrative. Rome was tolerant, but two emperors suppressed death cults and firmly blocked up the Baia oracle.

Odysseus (here type 14 Mixer or Time, his axis uniquely to his ear instead of his eye), hears but resists the songs of flying Sirens by strapping himself to his ship’s mast (here 11p) and plugging his crew’s ears. Homer placed these daughters of sea god Phorcys or river god Achelous (11p), on an island near Naples, between Aeaea Island (Sardinia?) and Scylla rocks. Greek colonies in Italy were a ready audience for Homer’s combination of Greek and ‘Amazonian’ tales. Odysseus’ son Telemakhos retraces his father’s route, in the rite of passage that psychology identifies as outgrowing the Oedipus complex, to transfer love from mother to wife.

Odysseus tours the underworld, his son follows

The Land of the Dead plays several roles in the Odyssey. The crew visit Kirke or Circe (type 3 Queen), nymph of Aiaia Island, daughter of Helios, Sun (4 King) and Okeanid Perse (2c decan Perseus), mistress of drug potions (2c Basket, decan Algol). Her song calls lions, wolves and monsters (dragons pairs 3). Her drug and wand (perhaps wheat ergot) changes men into pigs. Odysseus, ’Child of Anger, Pain Giver’, is a wronged ancestor (13), justifying revenge (invert 12 Heart). Telemakhos, ‘Far Warrior, Bowman’ (weapon 12), or ‘Last Mouth, Travelling Poet’ (oracle 13c Head), heir to the ancestral tale, as the compiler Homer was; becomes stepson of Telegonus, ‘Born Afar, Foreigner’, perhaps a suitor, who had killed his father Odysseus. The son conjures or is possessed by his dead father to fight off suitors to his mother Penelope; the archetypal multiple personality disorder or Oedipus complex (Gutchess 2001). Telemakhos kills and condemns (judge 5a Priest) suitors’ souls to the underworld (4p), and marries underworld queen Circe (3 Queen), who had helped Odysseus to enter while still alive (Homer; Odyssey 10.480-541). Thus the son projects an ideal but ‘dead’ mother and a myth, onto his bride.

Homer tells a vivid story: ‘At the furthest end of Ocean is Cimmeria in mist and cloud… I sprinkle white barley-grains (powdered wheat ergot?)… From Erebos come spirits; brides, boys, old men, innocent girls in grief, wounded, men killed in battle, terrible… Teiresias comes with a golden sceptre (15 Maker), drinks some blood, and foretells: ‘Earthshaker (storm, quake, type 1 Builder or Ruiner) will bother you for blinding his son Cyclops (15 1 2 3); at Thrinakia Island (perhaps Sicily), do not eat the Sun’s cattle or sheep; sail in an alien ship (ship monster, AT 1179; 15g), kill suitors at home; carry a balanced oar (arms up, staff 10 Teacher) inland, away from salt, to where travellers name it a winnowing fan (wheat 11 Womb), plant it there; offer to Poseidon… return home and sacrifice hecatombs [herds, eight or twelve or more cattle] to the gods… (now) return to the light fast. (Live to) tell your wife.’

Persephone (3 Queen) sends a parade of great women (3 Queen), and king Minos, now judging and ruling the dead with a golden sceptre (5, 15), including heroes, criminals, victims of temptation (Tantalos is in eternal thirst and hunger despite a lake and fruit trees, perhaps an image of conscious and subconscious, eternally out of reach); and souls in purgatory (Hercules in perpetual battle (war 13) and misery for labours set by an inferior man, including a trip to hell to fetch the dog (9c decan Lupus) of Hades (9c Lid). Persephone (2, 3) may release the Gorgon monster head (2c Basket, decan Algol). Her man is Hermes (3, 15) of the underworld, with a golden rod (sceptre 15) of sleep and wake, herding souls past Ocean streams (15g) and sun gates (15g Gate) in earth’s cellars. As Odysseus descends to see the spirit of his mother Antikleia, via Circe and Persephone; so his son Telemakhos projects his mother Penelope via Circe, Calypso, Polycaste or Nausicaa (rescued princess, AT 506; 3).

Gods and initiates on a plaque shaped as a shrine, at Eleusis near Athens (archetypal labels and axial grids by E Furter). Gods in the facade on top express six types. Initiates top centre express types 5 Priest (holding an ear of crops) and 4 King in the gods cycle; and types 2 Builder /Ruiner and 15 Maker in the initiates cycle. Type 11 Womb, bottom right, holds a bowl of brew. Double imprints are usually ‘geared’ by sharing some characters, and by contra-rotating; but here they ‘gear’ only on type 3 Queen, and rotate in the same direction. Minimalist works are often flawed by lack of some eyes; here 10 Teacher is a hand on a torch (staff); 9 Healer is grain heap; 7 Child is a cloak (bag, eyeless).

Death oracles (type 9c Lid) reveal ironic ‘riches’

Necromanteia or death oracles were dedicated to Hades, who takes Persephone to the underworld, where they keep life to sprout again like seeds. His trident staff (metal 10); triple-headed dog (canid 9); and oracles (9c Lid), reveal his role as inspiration (10 Teacher) via trance (9 Healer). His father is Chronos or Saturn (death 13, 13c Head, and time 14). Time is a feature of all four half-types. As in Sumer, Babylonia and Egypt, Greek querents summoned departed souls at certain sites. This peculiar quest is part of quarter-life and midlife crisis, typically at about ages 26, 54, 80 and 112, the last possible Saturnian rite of passage (TheCut 2018).

Hades had only one city, at Elis, Eleia or Ilida (now Amaliada) on the Peloponnese in southern Greece, dedicated to the Dead, mines and metals (10). It was a neutral trade city, west of Arcadia’s yearly wildfire hell. Many Elians were free travellers, Perioeci. Hades feast and games were hosted every 100 years, about the Saturn return. The first Olympic Games were here in BC 776, and every eight years or five Venus cycles, symbolic of a king’s death and a prince’s succession; and of bridal abduction. Elis temples opened once a year, but only a priest enters (Bellingham 1998). Hades was commonly named Plouton, Wealth (metals 10), in Rome renamed Dis, Riches (irony for Poverty). Supplicants pray to him not standing with hands raised, but kneeling (bent forward 9), pounding earth with hands or short staffs for souls to hear. His cult offered good seats in the underworld.

Syrian or Mediterranean Water Couch grass, Paspalum distichum, naturalised in Crete, France and England, with a cluster of ergot mite that produce non-fatal LSD, taken powdered. Ergot on other crops produces a deadly mixture of alkaloids, extractable in water.

Eleusis offers archetypal vision; easy to recognise, hard to re-tell

Greek counter-culture was a serious business. Solemn torch processions from Athens to Eleusis symbolised the Arcadian Elysian Fields, destination of souls. Initiants share a drink, an oath of silence on pain of death, and feel individual inspiration. The drink may have been ergot from Rarian plain rye or Water Couch grass; or psilocybin from Amanita Muscaria mushroom; or a mixture. Tales circulated of two divulgers found dead at the wall, perhaps a cover story for occasional deaths by overdose, or by the wrong strain of ergot. Syrian or Mediterranean Paspalum distichum grass mites contain only hallucinogenic alkaloids, used directly in powder form, linked to visions of Demeter, Kore and Triptolemus as progenitors of barley and wheat (Wasson, Hoffmann & Ruck 1978). Wasson et al noted that “the best comprehension of archetypes was inspired by this non-fatal strain of natural LSD”. Plato had noted that archetype lies behind fleeting and imperfect experience, an Ideal, original, true, eternal pattern. Wasson believed that Plato’s insight came with a vision at Eleusis. Philosophers and poets, including I Ching developers, and Paracelsus, acknowledge and use archetype, but had no list. Jung had isolated some types, but proposed no comprehensive model or format (see Furter 2014, 2016).

Pure LSD does not induce ergotism disease, but is no picnic either. Chemist Albert Hofmann at his Sandoz lab noted in 1943: “0.5 cc of half pro mil aqueous solution of diethylamide tartrate orally, or 0.25mg tartrate, diluted with ten cc water. Tasteless… dizziness, anxiety, visual distortions, symptons of paralysis, desire to laugh… Home by bicycle… most severe crisis.” Then his notes become scrawled, pseudo prophetic, his personality dissolved in sensory assault, kaleidoscopic images in flux from a central point (vortex 7g), like Gothic buttresses, vaults, pillars, ferocious flowers (buck bag 7), masts, ropes (7) and flight (…

See Parts II and III of Ayahuasca oracle of the dead as counter-cult, on this website. This is an extract from a draft chapter for the planned book, Culture and counter-cult code, by Edmond Furter, author of Mindprint; and of Stoneprint; and editor of Stoneprint Journal.

Archetypes in art

Indian Ratnagiri engravings reveal innate and imitated inspiration

The five layers of archetypal expression were confirmed in the recently discovered elegant rock art on India’s west coast. This finding supports the validity of the archetypal structuralist model of culture. The model predicts about 100 optional elements of the core content of cultural media, including art, icons, building sites and myths (Furter 2014, 2016). About 60% of the known optional elements are always present in a complex artwork; expressed by the characters; in a specific sequence along the outer edge; with their eyes on an axial grid, opposite specific counterparts; around certain markers indicating a historic time-frame. The features are simplistic, but their inter-dependent and spatial relationship makes the ‘blueprint’ of culture too complex to imitate or fake, thus culture is largely a subconscious behaviour.

India’s west coast in the Ratnagiri and Rajapur area of Maharashtra state, has 52 engraving sites on flat, reddish laterite bedrock hills of the Konkan coast. Similar engravings, some in deep relief, are 50 km southward, in the Sindhudurg district. The themes are mostly outlines of birds, sea and land animals, some humans, and geometric shapes, typical of rock art worldwide (Furter 2016 b). Some of the southern themes are identical to familiar icons associated with other cultures, such as a rampant eagle, winged scarab, staff god, lord of animals; prompting theories of diffusion either from Egypt and South America to India, or the other way around.

Early dynastic cylinder seals, stamps and other miniature artworks (see another post on this website) indicate that Mesopotamia, Persia, and the Harappan civilisation of the Indus valley shared a number of conventionalised icons (Furter 2018 c), some of which remained in Babylonian, Egyptian and Greek conventions and myth. Thus the archetypal structuralist model of subconscious expression indicates two sources of inspiration for the format and the content of Indian Konkan coast engravings; innate, and imitation. Both of these processes are active in every cultural expression.

There are too many detailed similarities with the underlying universal model to have been directly copied; and too many detailed similarities with conventionalised icons in some other cultures, to have arisen locally. Moreover, some foreign species are pictured; and some typically Indian religious art conventions seem absent, such as the churn, and avatars. India’s west coast was a trade destination for Middle Eastern civilisations for millennia, indicating a possible source of integration, or synchretism, by one or two local or visiting artists. Some rock artists are prolific.

Some of the bedrock pavements may have been initiation sites, but initiation engravings typically contain novice art, repetition of a few themes, and clothing or decoration items.

Amateur historians led by Sudhir Risbood and Manoj Marathe, have uncovered many of the engravings under thin soil and grass. About 60 Sindhudurg engravings were found in two villages by Satish Lalit and others. Researcher Bibhu Dev Misra noted “sacred symbols found in the art and culture of many civilisations,” in a post on in April 2019.

Elephant engraving on bedrock at Ratnagiri, India, is a basket of mysteries

The general subconscious theme in the Ratnagiri elephant ‘tattoo’ engraving, is indicated by extra features of the four half-types or c-types. These are 2c Basket, typical of woven textures (here the seven outline ‘clamps’ of nested curves, perhaps oracular as a kind of game-board); 9c Basket Lid, of discs (here the large outline, and spirals, and ‘eye-discs’ or ‘palettes’); 5c Basket Tail (here tail of the elephant, buffalo, and outline); and 13c Basket Head (here the elephant’s head, a pig?, and an eye-disc. Types 2c and 9c are expressed at the top centre and bottom centre of the work, in large ‘slices’ in the subconscious axial grid. The four transitional types are off the axial grid, but in four sectors between specific axes.

Indian Konkan west coast elephant pavement engraving at Ratnagiri (after Bibhu Dev Misra. Typology and axial grid by ED Furter).

Type Label; Character (archetypal features):

01 Builder; ?

01 BuilderB; Rhino (bovid).

02 Builder; Dolphin?, antithetical with another dolphin (cluster).

02c Basket; Corner ‘clamp’ (weave, instrument?), on the elephant’s back. One of seven, perhaps ‘chakras’. C-types are off the grid.

03 Queen; Fox?, with tail ring? (dragon?).

04 King; Fox? And eagle? (bird). And fox? (twins).

05a Priest; Eye-disc A, in elephant’s large tail (tailcoat head, large).

05c Tail; Bovid’s erect tail (tail). And elephant’s tail (tail). And outline tail (tail).

06 Exile; Bird climbing, far from the centre (egress).

07 Child; Buffalo?, with young (juvenile) behind its head.

08 Healer; Buffalo? Newborn? (juvenile, of 7) emerging from 7 (unfold, of 7).

08 HealerB; Fox? (canid).

09 Healer; Water-bird? Leaning (bent forward).

09c Lid; Shark composite (weave). Mud? Fox? under a loop (disc?). Elephant trunk (arm-link). Kangaroo (leg-link).

10 Teacher; Pony?

11 Womb; Pony’s midriff (womb).

12 Heart; Elephant.

13c Head; Elephant head (head). Pig? Eye-disc A (head?). C-types are off the grid, but between specific axes.

14 Mixer; Fox? And fox? (canid).

15 Maker; Dolphin or seal (canid). And human (maker, smiter) in profile.

Indian Konkan coast engraving detail of man and dolphin or seal as type 15 (image after Bibhu Dev Misra, typology test by ED Furter 2019).

Typology is uncertain due to some ambiguous outlines. Axis 1v8 may instead express an extra axis 15v7, since 8 is apparently juvenile, and ‘unfolding’ from the larger animal’s head, which are both typical features of type 7.


Central or polar features are analogous to cosmology, since artworks, building sites, and space-time all express aspects of archetype. These features are not on eyes, but on limb-joints or junctures:

00 Axial centre; Unmarked as usual. Analogous to the ecliptic pole.

04p ‘Galactic South Pole’; Eye-disc B’s edge (juncture).

11p ‘Galactic Pole’; Fox? jaw (limb-joint). And outline ‘clamp’ or ‘chakra’ on elephant chest. Chakras are analogous to planets, but not in the sense of a star map.

Midsummer; Triangle (juncture). Midwinter; Bird beak (limb-joint, here apparently damaged). The two seasonal markers are near the horizontal plane of the work. They place midsummer between Leo and Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, confirmed by the top central position of the transitional type 2c, and the general subconscious theme in the work. This time-frame is analogous to about BC 1700, but polar markers usually express the era before the artist and the work, at the perceived formation of the artist’s culture. Thus polar markers could not resolve the uncertain dating of the work. However the subconscious time-frame does not support the tentative dating of ‘BC 10 000’, but could rather support a dating of about BC 1700 or later.

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

Indian west coast global icons puzzle

Local archaeologists tentatively date these engravings to about BC 10 000 (Director of Maharashtra State Archaeology Department, Tejas Garge). The style is associated with Middle Stone Age tools, as found near engravings in Kasheli village in Ratnagiri. The era is after the Ice Age and the ‘cold snap’, however other scientists date the end of the Younger Dryas later, about BC 7000, when Anatolian and Middle Eastern survivors moved down from the Zagros and Anti-Taurus ranges to the foothills (see other posts on Gobekli Tepe, and on archaeo-astronomy, on this webiste, and on

Winged scarab

A winged scarab beetle is among the engravings on the Indian west coast, as in the ancient Egyptian symbol of creation and rebirth, Khepri, Coming into Being, or dawn sun. Dung beeltes push their balls with eggs backward, perhaps a semi-conscious symbol of the solstices slowly moving backward through the ages, due to precession of the four seasonal points. The symbol of regeneration is conscious, while the popularity and perpetuation of the icon is probably subconscious. Khepri appears in Egyptian tomb paintings, carvings and manuscripts, particularly popular as an amulet since the Middle Kingdom, BC 2055 -1650. See scarabs in Chinese rock art in the Tien Shan range, in Mindprint (Furter 2014), and in another post on this site or one of the three related sites (, mindprintart.wordpress, or edmondfurter.wordpress).

Archetypal structuralist analyses have identified dung beetle icons as type 14 Mixer, expressed by characters with optional features that appear at specific average frequencies: ingress/egress 43%, time 28%, tree 20%, angel 15%, bird 11%, antelope 10%, felid 8%, dancer 8%, reptile 4%, fish 4%, canid 4%. Average frequencies arising among artists disconnected by place, time and culture, indicates one of the synchronistic functions of the universal subconscious, rooted in nature. Thus culture is largely innate, leaving a thin layer of optional stylisation for conscious impulses.

Master of Animals, staff god, or creator

Another Ratnagiri engraving shows a man holding two animals by their hind legs, a symbolic motif in ancient art known as Master of Animals, Tamer, or Hunt Master, implying dominance and protection at the same time. The motif was popular in Mesopotamian art, used since the Uruk Period, typically of a hero taming lions. It was also conventionalised in Egypt, as in the Gebel el-Arak ivory knife handle of BC 3450 (see archetypes in seals and miniature works in another post), of pre-dynastic Naqada II culture. A Mistress of Animals (Potnia Theron) is known in Minoan, Mycenaean, Greek and Etruscan art, often with wings, noted Bibhu Dev Misra. This icon expresses type 10 Teacher, identifying itself by arms up in a W-posture or V-posture, with a staff, guard, metal, market, disc, council, snake, ecology, school, carousel, or canid, at specif acverage frequencies: W-shape 44% (arm/s 28%), staff 36%, huntmaster 24%, guard 20%, metal 14%, market 14%, disc 12%, council 11%, snake 8%, ecology 8%, school 6%, carousel 4%, canid 4%.

Artemis expresses this icon in some artworks. In the Ratnagiri engraving, the man grasps two animals, perhaps tigers, as on several Indus Valley seals from BC 2600 (see Stoneprint Journal 5), and in some BC 1900 steatite seals of Mohenjo-daro. Similar icons in Mexico could be entirely archetypal, or could have been adopted from one or two contacts, due to its strongly archetypal nature.

A man holding staffs in both hands, appears in a relief engraving at Sindhudurg. In Andean cultures, he has fanged teeth, and snakes in his hat or clothes (see the features listed above).

Pictures of Pisces and Aquarius

Another Ratnagiri engraving shows a pair of fish facing opposite directions, connected by a string, as in the Western Pisces constellation and glyph -)(-. Pisces appears on an Egyptian coffin lid of BC 2300. Bibhu Dev Misra noticed that another petroglyph resembles mythical Aquarius; a man holding a jug or object above his head with both hands, flanked by two fish on the left, and another pair of fish near his leg on the right, perhaps Piscis Austrinus, Southern Fish. However Aquarius expresses archetype 5 (archetypes do not express myths, gods or constellations). Type 5a /5b Priest identifies itself by these features and average frequencies; varicoloured 37%, priest 34%, hyperactive 33%, tail-coat head 32%, assembly 30%, horizontal 28%, water 24%, heart 24%, large 24%, bovid 20%, reptile 10%, winged 14%, invert 12%, sash 8%, judgement 8%, weapon of 12/13 opposite 7%, felid of 12/13 opposite, equid, ascend.

Foreign animals

There are several foreign animals in the Ratnagiri engravings; a hippopotamus of Africa, and a kangaroo of Australia. Bibhu Dev Misra notes Tamil traditions of a pre-flood island-continent, Kumari Kandam, in the Indian Ocean [Australia? Madagascar? or just part of India’s west coast?], “swallowed by the sea”. N Mahalingam, chairman of the International Association of Tamil Studies, dated this flood to BC 9564, near the end of the Younger Dryas cold snap. However every culture has a flood myth; and is aware of flood myths in other cultures; and occasional real floods are always conflated with archetypal features. Some events are archetypal, and all archetypes find expressions in several media.

Eagle rampant

One Sindhudurg engraving resembles an Imperial Eagle, used by many tribes and nations. In myth, a golden eagle was Zeus’s messenger and totem. In India and South-east Asia, sun bird Garuda was the eagle mount of supreme Lord Vishnu, preserver of created order. Type 14 Mixer, and type 15 Maker, share this icon, which may also express one of the poles. Inherent optionality has camouflaged the rigorous ‘rules’ of the core content of culture for millennia. The blueprint in our subconscious behaviour was raised to conscious demonstration and underststanding for the first time in the book Mindprint (Furter 2014), and since developed in several publications (see some of the References below).

See extracts from the theoretical background, and more examples of subconscious archetypal structure in cultural media, in other posts, and on



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

Furter, E. D. (2014) Mindprint, the subconscious art code. USA,

Furter, E. D. (2015a) Gobekli Tepe, between rock art and art. Rock art Where, When, to Whom. Anati, E. Italy, Atelier Etno

Furter, E. D. (2015b) Art is magic. Expression 10, Dec. Italy, Atelier Etno

Furter, E. D. (2015c) Mindprint in mushroom psilocybin, peyote mescaline, sugar, and chocolate art.

Furter, E. D. (2015d) Mindprint in San Francisco public art, and more examples.

Furter, E. D. (2015e) Rock art expresses cultural structure. Expression 9. Italy, Atelier Etno

Furter, E. D. (2015f) Structuralist rock art analysis. Association of Southern African Professional Archaeologists (ASAPA), Harare, 2015 conference. Zimbabwe, University of Zimbabwe, in press 2019

Furter, E. D. (2016b) Colonial artists re-style the same characters. Expression 14, Italy, Atelier Etno

Furter, E. D. (2016a) Stoneprint, the human code in art, buildings and cities. Johannesburg, Four Equators Media

Furter, E. 2016 b. Abstract signs in art as shorthand for cultural structure. Ed. Anati, E. Meaning of abstract signs. Atelier Etno, Italy

Furter, E. D. (2017a) Pregnant is the most consistent typological gender. Expression 15, Italy Atelier Etno

Furter, E. D. (2017b) Recurrent characters in rock art reveal objective meaning. Expression 16, June. The message behind the image. Italy, Atelier Etno

Furter, E. D. (2017c) Stoneprint tour of Paris. Stoneprint Journal 3. USA,

Furter, E. D. (2018a) Babylonian Plough List decans.

Furter, E. D. (2018b) Stoneprint tour of London. Stoneprint Journal 4. USA,

Furter, E. D. (2018c) Culture code in seals and ring stamps. Stoneprint Journal 5. USA,

Jung, C. G. (1912 /1952. Symbols of Transformation. Collected Works Vol 5, transl R Hull, Ed; Herbert Reed, M Fordham, G Adler; Ed. McGuire. Bollinger Series XX, 20 volumes; Routledge & Kegan Paul; 1953-1979

Jung, C. G. (1936. 1959) Concept of the collective unconscious. Analytical Psychology Club of New York

Jung, C. G. (1950) Synchronicity; an a-causal connecting principle. Collected Works Vol. 8, Bollingen Foundation, Princeton Univ Press

Levi-Strauss, C. (1973) From honey to ashes. Harper & Row

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

Parry, E. (2012) Rock art of the Matopo hills. Bulawayo, Amabooks

Schulberg, L. (1968) Historic India. Time-Life

Tresidder, J. (1997. 1999) Watkins dictionary of symbols. London, Watkins

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


Archaeo astronomy magazine edition

Rennes le Chateau hoaxes high and low

In 1956, an apparent pretender to the abolished French throne revived dormant Arthurian, Rosicrucian and Christian esoteric legacy at Paris St Sulpice, Rennes St Magdalene, and Scotland’s Rosslyn chapel. Pierre Plantard, ‘Stone Sprout’, embellished a few tantalising mysteries into a religious order, Rennes ‘priest’s coded parchments’, three gravestone epitaphs, a landscape pentagram, and re-worked an alchemical poem into a ‘manifesto’ with himself as descendant of Christ and French kings.

The hoax included some WWII Vichy propaganda methods, De Sede, Chaumeil, radio prankster De Chérisey, actor Lincoln, and Vazart. The ‘bloodline of Christ’ and ‘spiritual legitimacy’ theme of Varagine’s Golden Legend, became again a popular conspiracy genre. By 1972 Plantard had bought land at Blanchefort and Black Rock (see Rennes les Bains 13, in another post).

The ‘Coume Sourde engraving’ was part of the Plantard hoax. De Raaf, Wilkinson aka Hammott, Herschel and others have elaborated pentagram designs between various supposed secret markers in the landscape.

At Bains 3 Coume Sourde, Ernest Cross had found a ‘Templar’ cross. Plantard faked a slab engraving of VM overlay, Templar crosses, and inscription on ‘bisecting’. He proposed a large ‘Templar’ pentagram around Coume, between Rennes; Bains 13 Blanchefort; Bains 7 Soulane peak; a Templar castle east of Bezu, perhaps Valdieu; and a point south of Granes. Rennes to Granes has 5a Aven halfway, due west of Coume Sourde. But several very different pentagrams, hexagrams and stellar alignments have been proposed as ‘Templar’ survey schemes.

Order the Rennes le Chateau archetypes guide on this link;

De Raaf applied Plantards’ ‘stone’ design and ‘parchment compass’ to landmarks north of Perillos, placing south on top. Wayne Herschel used De Raaf’s identifications to overlay Orion, Pleiades and galactic gate (which he labels “solar trinity”), on Perillos, St Theresa church, and Opoul castle; adding Wilkinsons’ aka Hammott’s fake ‘Solomon’s key parchment’, with three Perillos churches as ‘key levers’, and as Orion’s belt (another ‘usual suspect’ in esoterica and amateur archaeo astronomy). But St Michael church and St Barbara chapel are adjacent, and Caune Cave of Black Madonna fame is 1km north-east; not ‘three churches in a row’. Herschel sells copies of various real and fake artefacts. Wilkinson aka Hammott offered to sell the location of the Ark of the Covenant mockup he had buried, then confessed to faking parchments and the small chest in Rennes 6 Magdalene cave ‘to get funding to recover the ark’.

Nothing in the Rennes mysteries is straightforward, as Lincoln, one of the Plantard publishers, had warned. Even hoaxes use some kernels of truth.

The 1970s Holy Blood sequel myth was debunked by Charroux, Cholet, Descadeillas and others (Dietrich 2018). In 1978 Plantard re-published Boudet’s book. In 1986 Schrauben did the same to debunk Plantard. Another ‘bloodline’ novel, Da Vinci Code, demonstrated that the usual suspects in ‘alternative history’ remained popular. It took unsophisticated, brazen hoaxes by Bill Wilkinson aka Ben Hammott, anagram for The Tomb Man, and dogged investigation by Andrew Gough, for old and new confessions to start unravelling the cloth of fake legend.

History, often stranger than fiction, and myth, or condensed truth, will eventually reclaim their territory. Structuralist analysis now reveals the ‘grammar’ of subconscious expression in the Two Rennes, at several levels of scale. Identification of compulsive, subconscious behaviour in cultural media, incidentally confirms what two priests have added to the cultural fabric of this mythically magnetic area. The discovery incidentally confirms that Plantard’s and Wilkinson’s ‘parchments’ geometry were uninspired, or fake culture.

Use this link to order the Rennes archetypes guide;

== Extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities. Order the book, or journal editions; or contribute articles, on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg. See also http://www.stoneprintjournal. blog

Back editions at $12 plus postage;

1 Pictish beasts

2 Crop circles are natural artworks

3 Stoneprint tour of Paris

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

5 Culture code in seals and ring stamps. Also from

6 Rennes le Chateau stoneprint tour, 20pp., $10, on this link;

Archaeo astronomy magazine edition Stoneprint in a site plan

Rennes le Chateau church floor plan stoneprint tour

Sauniere renovated St Magdalene church from 1887. In 1891 he found a crypt before the altar, under a floor stone that Abbe Bigou had turned around to hide a royalist engraving a hundred years before. Inside was some treasure, perhaps of King Sigebert IV, that Bigou may have moved from the thick wall pilaster (see 13 Mural tomb below). Sauniere’s renovation became lavish, with some small deviations from Catholic practice, and local scenes added.

Renovations extended around the church, raising rumours of a cache. He ordered commercial saints’ statue casts and Cross Station plaques, but contracted Italian artists to paint them. Five saints trace an M-shape around Magdalene with her ointment cup; Germaine, Roch, Anthony hermit, Anthony Padua, and Luke among five teachers (see 9 Pulpit below), spelling GRAAL, grail. But the floor plan also subconsciously expresses the much more detailed global archetypal structure listed here (after Furter 2014. 2016. See The mindprint model of archetype in culture, in another post).

The church was built as the castle’s chapel, to St Mary the Blessed (noted Blanche-Negre 2013). Its foundation is oriented to sunrise on her feast day, Sep 17, 86o off north; four degrees before east, or four days before autumn. The dedication was changed from Mary (see 11, 11B below) to Magdalene (see 11, 14 below), perhaps by Sigebert’s sons under Charlemagne, after AD771.

Buy the Rennes archetypal tour guide here:

Church floor plan after Blanchenegre. Type labels and axial grid by E Furter.

[]Type label; Character (noting archetypal features):

[]1 Builder; Cross (spring season); over four angels (cluster), in gestures of crossing (twisted); one kneeling to point to an added word in Constantine’s motto: In this sign conquer ‘him’; monogram BS, perhaps Basilisk v Salamander of Montsegur Trout Lake, or Sauniere’s initials; two salamanders; water stoup (rain); devil Asmodeus bent (twisted), as treasure finder, or demonic anti-Christian Republican.

[]2 Builder; Station IX, Christ falls (twisted).

[]2c Basket; Moneybox (container). And mural of pink castle, perhaps Casteillas (see Rennes le Chateau map 6, in another post), and hexagonal plants named Solomon’s Seal (texture).

Rennes le Chateau church type 3 is expressed also by Cross Station VIII, Christ meets three weeping Daughters of Jerusalem, or congregations, including a widow in a black veil (queen) kissing his hand, and a child in blue tartan. (Photo: Migel Nessling).

[]3 Queen; Station VIII, Christ meets three weeping Daughters of Jerusalem [congregations], widow in a black veil (queen), child in blue tartan (Anglesey?); seven people (more typical of type 2).

[]4 King; Christ in the Sermon mural (see Rennes church mural 3, in another post). And confession box (rectangle), carved with Christ rescuing a lamb (more typical of 3). And floor tiles, former diagonal chessboard (rectangle).

[]4 King B; Station VII, Christ fallen (squatting), a soldier pulls him up; Ps69:14 “Rescue me from the mire before I sink, from haters, watery depths. Let not waves wash over me, nor the deep swallow me, nor the pit (more typical of 3) close its mouth on me.” (See Rennes les Bains map 3, in another post). And mural of pulpit base pillar broken out, as Jerusalem Temple sacked by Rome, or Rome sacked by Visigoths, or a decapitated French king (king). Its capital is carved as pomegranate leaves, perhaps ‘Phoenician of Granada’, Spain; or ‘Punning’, after Jonathan Swift. It is one of the fruits of knowledge, and a royal red dye, and emblem of the Holy Roman Emperor (king). In the hollow top Sauniere may have found small items. The base is now in the museum. And mural of cubic buildings (rectangle), perhaps Montazels (see Rennes le Chateau map 11, in another post). And walker in a red robe (king) with walking stick, copy of a detail in Scorel’s Rock of Magdalene (noted De Raaf); perhaps Lazarus resurrected after four days in a tomb (the church orientation is four days after spring), before the Passover full moon after Easter in the ‘sign’ of Aries (in constellation Pisces in recent centuries). The walker is at a bush, perhaps Fish Smoke Rock, Fumade (fish. See Rennes le Chateau map 11, in another post); or Founbit, a dinosaur egg nest (bird) fossil ‘oven’ (furnace). And Bread Stone or oven (furnace).

[]4p Galactic South Pole; Paving before Baptist fount (spout).

[]5 Priest; St John Baptist (priest, Baptist) over Christ (priest), on a font (water). His staff holds a banner, M-shaped, Roman 1000: ‘This is the Lamb of God.’ One tradition holds that he was crucified instead of Christ. Both had disciples: John’s Essenians, Christ’s Nazoreans; both were anointed Messiahs, announced by Gabriel (Luke1); but Christ as liberator (4 king), Baptist as forgiver.

[]5c Tail; Station V, Simon Cyrene, an African (varicoloured, however painted as a European here), carries the cross.

[]6 Exile; St Germaine of Pibrac, shepherdess with lambs, flowers in her apron (5c container) in winter (of Age Aries), to conceal bread (sacrifice) for a beggar, like legendary St Roselyne. Near the axial centre (ingress).

[]7 Child; St Anthony Hermit (more typical of 8), with a pig boar. His feast is 17 January (as of 6 St Germaine /St Roselyne), date of his death aged 107.

[]7g Galactic Centre; Door (juncture) to belltower (7 rope), 1740, before Sauniere. And Cross Station I, Christ before Pilate in a long head cape (8 hermit), washing his hands in a silver bowl (water) held by a black boy (7 child); also a trial of spiritual virtue and strategy (8 strength).

Rennes le Chateau church pulpit (after Imgur).

[]8 Healer; Pulpit spiral (pillar) steps (bent forward).

[]9 Healer; Teachers on the pulpit,  Sts Matthew, Mark, Christ, John and Luke, left to right, all between pillars (pillar). Luke was a doctor (healer), who wrote on fortitude (strength). And a painting of Christ or Luke on the pulpit stairs door.

[]9; Pulpit on four balusters (pillar). The previous Renaissance pulpit had a single baluster with pomegranate leaves capital hiding a small hollow (9c container. See 4B above). Above the box is an octagonal canopy (9c disc) or ‘octopus’, poulpe, perhaps a common pun on Latin pulpitum, platform or scaffold (pillar).

[]9c Basket Lid; Window NE, Martha with ointment jar (container), Mary, and Christ gesturing (arm posture); at two pillars (pillar).

[]10 Teacher; St Joseph holding baby Christ, and a green branch (staff), a ‘bishop’, like St James; under a canopy (disc). Christ infant wears a crown (circle) of Fleur de Lys (staff).

[]11 Womb; East round window, Magdalene (womb) balming Christ’s feet with her hair (11p), probably spikenard. Simon Pharisee and three others have wine and bread, or Eucharist. Behind them is Lazarus, earlier raised from a grave after four days; the window points four days before autumn, and four days after spring. Lazarus was also at the Last Supper and Crucifixion, a young lawyer and scribe (law, library), foster child of Mary.

Rennes le Chateau church altar relief (after Andrew Gough).

[]11; Altar of St Magdalene penitent with a tear, red cloth on her midriff (womb), kneeling in Sainte Baume, Holy Balm cave (interior), where her relics were, looking at a crucifix of two roots or branches, one living. Outside her cave some ruins are visible on the left, shaped H or I, M, and a hill, perhaps Rennes from the north; or Coustaussa (Rennes map 13B); or Capitelles, Grand Camp (Rennes map 12); or Sarras Rock. The altar is by Monna in Toulouse, apparently donated by monarchist Marie Cavailhé in 1887. The old altar slab that Sauniere moved to Bethania house conservatory (Church ground 6), was a rough stone, one side set in the wall, the front on one or two posts, engraved with a Visigoth Cross of Silence (see 15 below). In Varagine’s Golden Legend, Magdalene married John Evangelist and moved to France with her brother Lazarus and others (see Rennes les Bains as New Jerusalem, in another post).

[]11; Former floor stone over the crypt entrance (see 13 Mural tomb below), Carolingian 700s, named Vale of Horsemen: two arches or crypts over a knight riding left, and a knight with a friend or child riding right. Two on one horse was a Templar emblem. Sauniere moved the floorstone before 11B St Mary’s statue (now in the museum yard at the stable, see Church ground  axial centre, p3). The cache may have held a wooden tube (see Church ground 9c) with wax seals from the capsa for relics; a skull with incision; and a pot (womb) of gold crowns that Sauniere used as gifts (Smith 2018).

[]11 Womb B; St Mary (womb) with child Christ; or St Elizabeth holding baby John Baptist, since 10 Joseph also holds a Christ child. Both were standard factory catalogue statues.

[]11p Gal.Pole; St Anthony of Padua, patron of recovering objects and fathers, holding up a figurine of king Louis IX, St Louis, a usurper; over four river angels (grail, and 12 water-work). And window of Christ raising Lazarus (12 grave).

Rennes le Chateau church type 13 Heart is expressed also by Cross Station XIV, the last in the set, Christ entering the grave (death, interior), on the full moon of Easter Sunday Passover after spring. The scene could be Blanchefort (see Rennes les Bains map 13, in another post). This Station is on the wall near the type 13 expression of a mural tomb (bastion, death) of a Merovingian king.

[]13 Heart; Station XIV, Christ enters grave (death, interior); full moon of Easter Sunday Passover after spring; perhaps Blanchefort (see Rennes les Bains map 13, in another post). This grave scene is on the mural tomb.

[]13; Mural tomb (interior, death) in thick pilaster (bastion), last Merovingian king Sigebert IV, son of Dagobert II of Austrasia, who died in Rhedae 750.

[]13; Sacristy (interior) over crypt (death). And door to the Addition, behind cupboards, where Sauniere took his hods.

[]13c Basket Head; Sacristy window, Crucifixion with Mary, Lazarus (13 death), and Magdalene (container). After Atun Cathedral’s St Lazarus, formerly  Sts Celse and Nazaire (see Rennes les Bains map 10, in another post). And Cross Station XIII, Descent and Deposition (cover).

[]14 Mixer; St Magdalene statue, holding a tree cross (tree). At her feet is a skull (13c head) on an open book (13c oracle). On her feast (time), July 22, a month after midsummer, sunrise is 61° off east (as also a month before midsummer); over a small hill outside (egress) named Cassiopeia, a princess bound (ropes, of 15); and over White Rock standing stone, Roc Blanc 3km off (egress); via 9c window NE; via two tabs on the pulpit chair sounding board; lights type 1 font of Asmodeus, revealer of treasure, Light Bringer, Lucifer.

Magdalene has three aspects (polar trio); sinner at Magdala; repentant and converted disciple at Bethany; then sacred witness, apostle, emigrant queen. Judaism, Christianity and Islam have trios to replace pagan polar trios. Three Allat, daughters of Allah, indicate a female Holy Ghost.

Rennes le Chateau church interior (after Belcaire Pyrenees).

[]15 Maker; St Rock, with staff (sceptre), gourds (bags), leg exposed (hip wound), dog (canid. See trump 15:0, Fool, with staff and bundle, bitten on the thigh by a jumping dog. See Types, trumps and hour decans table, in another post). His dog brings a stone (mace). Born with a red cross on his chest (more typical of 12/13), as Merovingian leaders were. He survived a plague, then an incurable wound on his thigh (hip wound).

[]15; Old altar post outside, with Cross of Silence. Its apparent blank counterpart (double) is in the graveyard. Inscribed ‘1891 Mission’, a midsummer children’s street parade (the summer sun was in Gemini in Age Pisces), on official recognition of the Lourdes Mary cult of her conception by St Anne. They placed a Lourdes lady figure on a slab inscribed ‘Penitence, Penitence,’ after a vision of two young shepherds at Salette near Bugarach Mt in 1846, before the Lourdes visions of 1858 of ‘Immaculate Conception’. Sauniere elaborated the Salette vision into a prophecy of monarchy restoration to prevent war, a Catholic policy suppressed in France. Left of St Rock is Station XI, Crucifixion (soul churn). Right is Station X, soldiers dice for the tunic (bag), legal right of accusers vindicated by a court order.

[]15g Gate; Church door (juncture, gate). The door motto is “Terrible is this place” (hazard). The arch motto is “House of God (1 building) and Gate (gate) of Heaven,” after Jacob’s dream in Gen35:1 of a ladder (1 tower, builder), at Bethel, an altar struck (1 lightning. See trump 1:16, Tower struck by lightning. See Types, trumps and hour decans table, in another post). The left gargoyle is inscribed 1891, date of the Lourdes Lady parade, and crypt or grave discovery. Sauniere’s door was dismantled by Abbe Vigneron in 1972. It now has two carved faces (15 face, doubled. See Rennes les Bains map 1, Head of Man, in another post).

[]The axial centre is in the aisle.

[]Midsummer and midwinter are unmarked, or south-north of the axial centre; or on Station XI, Crucifixion (juncture) and Station III, trumpet blast and rent veil. These indicators place midsummer between axes 14-15, analogous to Cancer-Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, the time of the work. This Age is confirmed by the time-frame of the back wall mural’s structure.

The entire structure is subconscious in all artworks and building sites, in all cultures. Two Rennes landscape expressions are demonstrated below.

Buy the Rennes archetypal tour guide here:

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

Or order the book, or journal editions; or contribute articles, on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg. See also http://www.stoneprintjournal. blog

Back editions at $12;

1 Pictish beasts

2 Crop circles are natural artworks

3 Stoneprint tour of Paris

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

5 Culture code in seals and ring stamps. Also from

6 Rennes le Chateau stoneprint tour, 20pp., $10.

Archaeo astronomy magazine edition Stoneprint in a site plan

Rennes le Chateau church ground stoneprint tour

Abbe Berenger Sauniere made many improvements to his church and presbytery, later adding a luxury villa (1901). In addition to practical and symbolic features, the St Magdalane grounds plan also subconsciously expresses the archetypal, global structure of typology and spatial relationships, as on all built sites.

Guests included opera diva Emma Calve; Claude Debussy; the state secretary for culture; and Archduke Johann von Hapsburg, cousin of Austrian emperor Franz Joseph. Housekeeper Marie’s half-sister saw gold ingots in the cellar.

Sauniere intended a retirement home for priests, but politics intervened. He had a lookout tower and a tunnel under the sacristy with a hidden room behind, perhaps in fear of assassination after the murder of fellow priest Gelis at Coustaussa, or of another Crusade, Maraud, or anti-clerical revolution. He also planned a pilgrimage site in support of restoration of a royal family. Marie inherited and sold the domain to the Corbu family, who sold it to a lawyer from Lyon, Henri Buthion, in 1960 (Smith 2018). It is a house museum since 1989.

Order the Rennes archetypes guide on this link;

Rennes le Chateau church grounds map after Type labels and axial grid by E Furter. Built sites and renovations subconsciously re-express the same five layers of archetypal structure worldwide. We cannot use a defined space in any other way. The same applies to complex artworks.

Type; Building (archetypal features):

[]1 Builder; Bell-tower (tower) and vestibule, vestments with sun symbols.

[]2 Builder; Graves north of the church.

[]2c Basket; Presbytery east, museum  since 1989. And graves on its north.

[]3 Queen; Presbytery back door. First graves of Sauniere and Marie (queen), cemetery west wall, priests’ crypt, 1901.

[]3; Mayor’s sepulchre for the pair, commons north, vandal-proof, 2000s.

[]4 King; Hothouse (sun, furnace, garden), cubic (rectangular), doubling Magdala Tower (twins).

[]4p Gal.S.Pole; Park’s small water point (spout). And cistern (spout) between presbytery west and villa conservatory.

[]5a Priest; Fountain (water) on the terrace, exotic fish, peacocks, zoo (varicoloured), flanked by stairs, over blind gallery (Corbu make windows in the 1930s). The corner is 120 degrees, prompting pentagram paths.

[]5c Basket Tail; Central tree (6 tree). And terrace sundial (instrument).

[]6 Exile; Magdala Tower with corner ‘altar horn’ (horned, sacrifice), far out (egress), 1903-1906. Balancing 4 hothouse (double-headed). After Belgian King Leopold2’s tower at Ardennes Castle. Named Tower of Hours (time, of 14 opposite), renamed Magdala, ‘Tower’, Galilean birthplace of Magdalene, reformed sinner (see trump 6, Lovers, choice of virtues, in the Types, trumps and hour decans table, in another post). Outside below the cliff was a shelter with women’s and children’s bones (sacrifice). At former park entrance.

[]6; House Bethania west glass conservatory with altar (sacrifice) for selling private masses, after a new bishop installed Abbe Marty in the church 1910.

[]7 Child; Commons, where a dowser had found three bodies in clothes (bag). The planned water tower had to be moved from a rift full of skeletons, perhaps Cathars v Crusaders after Couiza Battle.

[]7; House Bethania, ‘House of Anne’, Jerusalem suburb of Martha, Magdalene repentant (rising), and Lazarus (rising). Before the door was found a skeleton dated 800s.

[]7g Galactic Centre; Vegetable garden corner, at the car park. On the edge of the square was a larger tower, near the water tower (noted Gabitos).

[]8 Healer; Vegetable garden. Iron gate.

Rennes le Chateau church ground type 9 Healer; Pond in the south garden, with a high water jet (pillar). On the postcard photo is Sauniere and his deaf and dumb housekeeper, Marie.

[]9 Healer; Pond in south garden, high water jet (pillar).

[]9; Stable, east of the villa.

[]9c Lid; Two buildings.

[]9c; Former St Peter’s church, ‘Rock’ (9 pillar). Plantard alleged parchments in wooden tubes (secret, containers) here.

[]10 Teacher; Trinket shop (market) and Rennes Gate Library (school), near church square, stand 1063.

[]11 Womb; Grotto (interior), with a Magdalene or Lourdes (womb) figurine. He inscribed the stone bench XXSLX or CX8LX, since broken and remade. Sauniere and Marie brought stones in a backpack hod from the Bals valley, where he later bought land.

[]12 Heart; Crucifix (death) with sunburst (heart), Christ of Judah (felid), with a coronation anthem for a risen or restored king.

[]13c Head; Small basin (container), perhaps crypt (container).

Rennes le Chateau church ground type 14 is expressed by Sauniere’s Small office, library, store or planned chapel, over a water cistern. The castle, first building on the site, is further out on the same axis.

[]14 Mixer; Small office, library, store or planned chapel, over a water cistern. Bags may have hung under the floor (Smith 2018). Marie refused fire-fighters access to this water in 1895.

[]14; Rennes castle, outside the domain (egress). Prince Sigebert IV (King Dagobert II of Austrasia, St Dagobert) was here AD681. Of counts of Rhedae and dukes of Razes (Dietrich 2018).

[]15 Maker; Church altar.

[]15g Gal.Gate; Northern graves and alcove (juncture) with ossuary, rounded roof topped by Blanchefort gravestone.

Rennes le Chateau church ground type 1 Builder, Church door. The stable door is just inside the arch left of centre. House Bethania is on the left. The view is from the point analogous to midsummer, the path crossing before the door. (Photo; Belcaire Pyrenees).

[]Church ground axial centre; Stable door, just inside the presbytery door (juncture).

[]Midsummer; Path crossing before the church entrance porch (juncture), on axis 15, analogous to Gemini.

[]Midwinter; House Bethania door (juncture) and Sacred Heart windows; one ‘crucified’, one as king with a sword (juncture); on axis 7. These markers imply spring and the cultural time-frame on axis 4, analogous to Pisces, thus Age Pisces, the era of the work. Structuralist features are subconscious to artists, architects, builders and members of any culture. General themes on this site, as in the landscapes, include type 2c Basket, of containers and codes.

Use this link to order the Rennes archetypal tour guide:

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

Or order the book, or journal editions; or contribute articles, on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg. See also

Back editions at $12;

1 Pictish beasts

2 Crop circles are natural artworks

3 Stoneprint tour of Paris. Also from

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

5 Culture code in seals and ring stamps. Also from

6 Rennes le Chateau stoneprint tour, 20pp. $10, on this link;