Indian rock engravings at Ratnagiri and Sindhudurg include icons conventionalised in other cultures; a winged scarab, a staff god, a lord of animals. Early seals indicate that Mesopotamia, Persia, and the Harappan civilisation of the Indus shared some icons. The archetypal structuralist model of subconscious expression indicates two sources of inspiration for the Indian engravings, and for all cultural expressions; innate, and imitation combined.
Plantard’s Rennes le Chateau 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.
Rennes le Chateau church floor plan subconsciously expresses the detailed global archetypal structure, in addition to, and independent of functional, formalisesd religious, and symbolic features. The church was built as the castle’s chapel, to St Mary the Blessed. Its foundation is oriented to sunrise on her feast day, Sep 17, four degrees before east, or four days before autumn.
Abbe Berenger Sauniere made many improvements to his church, presbytery and grounds, 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. A varied history, and rumours of treasure and heresies, add interests to all the Rennes sites.
Rennes les Bains priest Boudet’s book on a ‘Celtic stone circle’ does not stake out a landscape zodiac; but his map subconsciously expresses an axial grid of archetypes (see maps of both in this post). A misleading net of correspondences was woven by Plantard in his Red Serpent pamphlet, containing an adaptation of alchemical emblematic verses, perhaps by artist JJ Cocteau for Jules Verne, but re-used by Plantard, about Bains and himself. His identifications of Bains sites with constellations or signs, differ entirely from calendric and emblematic elements in the current identification of sixteen archetypes.
The Pylos Combat agate seal jewel illustrates a mythic and legendary battle, and incidentally expresses the five layers of subconscious cultural structure. This edition demonstrates how 50 seals, stamps and miniature artworks, from Sumeria, Babylonia, Egypt, India, Syria, Greece and modern times, express the identical ‘DNA’ and ‘grammar’ of culture, rooted in perception and nature. Structuralist analyses offer glimpses, through replicated myth cycles of supposedly different cultures, into the structure of culture, of nature, and of archetype itself. Looking for ‘constellation characters’ in artworks misleads many authors into shallow correspondence theory that under-estimates culture, human nature, and nature.
The quirks and architectural features expressing the universal, standard, subconscious stoneprint is the definition and cohesion of every city. The cultural record is not as haphazard as the conscious, common sense view of history implies. Each addition, demolition, and attempted re-modelling in the ever unfolding expression, adds some socio-economic legitimacy, and incidentally some archetypal structure or spatial ‘grammar’. Building sites are rigorously structured and universal. Buildings are ‘characters’ and spacing is the ‘grammar’ of the unspoken, economically negotiated canvas of society. Typology and layers of spatial relationships bypass strands of causes and effects, revealing the sure and elegant guiding hand of archetype in our most enduring collective works. This invisible structure is the fingerprint of nature and culture in collusion.
London has a particularly dense texture of churches, monuments, icons and civic functions. As in Rome (Stoneprint 2016, p348-359), Paris (Stoneprint Journal 3, 2017), and all building sites, London expresses the sixteen archetypes, each with several predictable features. All the main ‘characters’ in the city are opposite their usual counterparts, forming an axial grid.
This post contains some scans and short extracts from Stoneprint Journal 2, November 2017 (themed on Crop circles as natural artworks). Below is also an article on the Milk Hill gall wasp crop formation, oak gall ink, writing, and archetypal meaning.
Practitioners, academics, three professional bodies, conferences, researchers and popular authors, use different data, methods and definitions in archaeo astronomy. All agree that cosmology and calendars are part of culture, and culture is the larger part of this inter-disciplinary science. Here is an introduction to some people and approaches, to answer: What is archaeo astronomy?