Archaeo astronomy magazine edition Stoneprint in a site plan

Leedskalnin’s Rock Gate or Coral Castle is a cosmic vortex

Latvian immigrant Edward Leedskalnin single-handedly built a theme park from large Florida oolite porous limestone blocks, in an attempt to integrate earth energy, 1930s technology, science and education, and to commemorate his lost love. Ed later moved his entire yard of massive sculpted furniture models to Homestead, southernmost city in the USA, where he quarried some more stones and experimented with earth energy. The obsessive builder partly had an astronomical programme, using constellation lines to model some wall silhouettes. Some authors have identified the Saturn wall slab as Virgo, the two crescents as Leo, and incongruous Cancer, Gemini and Taurus orientations (Poole 2020), but no consistent star map could emerge here. Instead, the usual archetypal cosmology asserted itself in the plan by subconscious inspiration. Leedskalnin followed hunches, such as instinctive dowsing, walking with iron-soled shoes, riding a bicycle on steel rims, and staring into a black water mirror. This post reveals the universal cosmology in the optional features, and axial grid between focal points, including two of the four gates analogous to ‘galactic gates’. The structuralist model of natural and cultural expression of archetype, named mindprint in artworks (Furter 2014), stoneprint in built sites (Furter 2016), and blueprint in icons (Furter 2019), was consciously unknown to artists and builders of all cultures, yet arises spontaneously in all artworks and built sites.

Where cosmology is part of an architectural programme, the innate structure of matter and energy always contradicts the intentions or rationalisations of any commission, committee, architect or users. The builder alleged that he knew ‘Egyptian’ and ‘Mayan’ methods of working with stone, but levers and pulleys have fewer mysteries than the layers of meaning in nature and consciousness, of which Rock Gate is a modern example. The builder’s fascination with science, technology and education, particularly energy, electro-magnetic waves and construction, is typical of the age of Marconi’s radio, Ford’s motors, Edison’s DC, Tesla’s AC (he was also a Latvian immigrant), a maize belt farm boy’s first TV tube, the rise of industrial funding, atomic energy, and massive defence budgets.

Built to impress, as Axum, Mystery Hill, Great Zimbabwe

Rock Gate or Coral Castle compares well with Mystery Hill in New Hampshire, USA, where the conscious intention seems to have been a metallurgy processing instruction site, but the subconscious structure expresses the usual universal standard in the site plan (Furter 2016: Stoneprint p344-345).

The two pillars with carved features on top (see types 9c and 15 below) resemble the much more enigmatic granite monoliths at Axum in Ethiopia, set in terraces with granite chambers, and partly used to inoculate seeds in shall cups (much like the cups in some Rock Gate tables), apparently by amplifying weak microwave currents in groundwater. Coral Castle campus also compares will with Egyptian, Olmec and Mayan pyramid fields and stelae fields (Furter 2016, p299-322) though on a much smaller scale. Similar structures are also on South Pacific islands, such as Rarotonga.

Rock Gate also compares well with Great Zimbabwe in Africa, where the conscious intention was using some astronomy, weather and iconography to inspire royal-religious awe, while the subconscious structure expressing the universal standard in the landscape, and in the queen’s corral, remained unknown (Furter 2016: Stoneprint, p276-282). And Rock Gate compares well with Credo Mutwa’s Cultural Village in Soweto, Johannesburg, South Africa, where the conscious intention was an African healing or shamanistic practices instruction site, but the subconscious structure expresses the universal standard in the hut interior murals (Furter 2014), and in the village plan. Regarding Rock Gate’s wall, see a section on French Fort Roppe at the end of this article.

A little astronomy, a little astrology, and a lot of intuitive cosmology

RL Poole (2019, 2020) sees Ed’s ‘Sweet Sixteen’ as sixteen astronomical features pictured in the Coral Castle east wall profile, including six constellations (Taurus, Gemini, Cancer, Leo, Coma, Virgo), and planets in this sector during the total solar eclipse of 1923 September 10 at 18:08 EDT [maximum at 20:47 UTC, 22:00 UT in Florida], in the year Leedskalnin built [planned] the site [his first site 10 miles southward], ‘on the autumn equinox’. Poole counts two of the three equators among his ‘sixteen’, and earth as ‘sixteenth’ feature.  But the equinox was 13 days later, on September 23.

1923 September 6, ecliptic positions of planets forming a near-alignment (after Takemebackto).

Poole’s ‘Sombrero Galaxy and Mercury’ in Virgo as the Moon Fountain, supposes that Virgo is pictured in the Saturn wall slab and in the fountain. But there is no reason to magnify one of the many galaxies in Virgo into the largest stone on site. And the subconscious grid (see the main image, and the list below) places the main type 10 or Libra in the fountain. Moon is a frequent feature on the Aries-Libra axis, as in the Dendera Zodiac archetypal structure (Furter 2014).

Poole’s ‘Coma L-shape’ supposes the pointed cutaway profile in the north wall as the galactic pole. But Coma, Hair, is between Leo and Virgo, which he places in the east wall. And the subconscious grid places an extra type 10 or Libra in the massive slab pointed like the balancing arm of a pair of scales.

1923 September 10, celestial positions of planets (after Astroseek). Sun, Venus, moon, lunar node, and Mars were in Virgo sign (Leo constellation), opposite Uranus in Pisces sign (Aquarius constellation). (Graphic after Astroseek). The angle between ‘signs’ and constellations has widened slowly since an Age Aries near-match. Constellations have different widths or durations, archetypally alternating between 20, 40 and 30 degrees (Furter 2014), while signs are all 30 degrees wide. The precession gap reached 30 degrees in 2016, and is still widening, while obliquity is slowly narrowing, affecting precession rate. The ascendant here is for Germany, and a different time of day.

Poole’s Virgo lies across the Small Crescent, Large Crescent, Saturn slab, and Ball slab, placing Saturn at her chest and her main star Spica in her womb. The subconscious grid surprisingly agrees, but makes her smaller, better to scale, with her arms at the Large Crescent (leaving the Small Crescent to the galactic pole). But Saturn was in constellation Libra (sign Virgo) in the 1923 eclipse, implying that Leedskalnin’s programme was partly astrological, not astronomical (see the Eclipse appendix at the end of this article).

Poole’s sun-moon eclipse with Venus is on the Small Crescent wall slab, between his Virgo and Leo, implying the galactic pole. But the eclipse was in constellation Leo (sign Virgo), not between the two. And Poole places his Coma on the north wall. The subconscious grid places type 12 or Leo rear, on the Small Crescent.

Poole’s Leo rear and Mars are on the East Gate north side. But the subconscious grid indicates this revolving gate as type 13 or Leo heart, at star Regulus. The gate is a kind of valve, and the core feature for which Rock Gate was named. The 1923 eclipse and thus the sun and moon were in sign Virgo, but constellation Leo, near its ‘heart’, prompting the analogy of the revolving gate as the revolving sun, origin of solar ‘wind’ or solar system electro-magnetic field. The gate is shaped like an electric generator or motor.

Poole’s Leo head and Neptune are on the East Gate south side. But the subconscious grid seldom expresses type 13 or Leo’s eye, usually its heart, which is in the Gate and in the Well, confirmed by several recurrent features. Neptune better agrees with the small black water bowl mirror as divination instrument, as type 13c between types which are analogous to Leo and Cancer, and thus to the Hydra neck.The conscious programme here may include Gemini, Cancer, Leo, Virgo and Libra, and the planets they hosted during the eclipse, a discovery for which Poole deserves credit, despite limiting his interpretation to Leedskalnin’s conscious intention.

Poole’s Cancer and Beehive galaxy is in the Bath. The subconscious grid also supports this identification, but there is no particular reason to identify the Beehive Galaxy, or to suppose that Leedskalnin was the only builder before 2014 who knew the archetypal grid. Even artists, architects, writers or ritualists who study the archetypal structure, could not consciously express it at the consistent level of integration that it has always been expressed in all natural and cultural media forever. Cancer (sign Gemini) hosted no planets during the eclipse.

Poole’s Gemini is in the two large Beds, and the Love Table. The subconscious grid also supports this identification, but in the site plan view they lie under the axis to the star obelisk, which expresses type 15, analogous with Gemini and its central decan, alpha star Spica (see notes under 15 in the list below). Constellation Gemini (sign Cancer) hosted only Pluto during the eclipse.

Poole’s Taurus Hyades or Bull face (sign Gemini) as the obelisk, finds no structuralist support, and hosted no planets during the eclipse. The star shape and hole in the top could be a scope to Taurus Hyades red ‘eye’ star Aldebaran, but Gemini alpha Spica, brightest in the sky, is more likely. It is often expressed by a prominent feature on built sites (including Mapungubwe in South Africa. Any evidence of a backsight for Sirius through this hole, would raise the possibility that Leedskalnin had an extensive astronomical, calendric or astrological programme. Such a backsight could also mark the eclipse day sunrise in Leo near Regulus, which lay near east. Sirius is far south of Gemini, and about 40 degrees ahead or higher in the sky, thus a viewpoint near the sundial may mark both. But most of the archetypal cosmology features here are more likely to be subconscious, as usual, as I demonstrate in 200 artworks of all cultures and ages, listing 200 more (furter 2014), and as I demonstrate in 50 sites of all cultures and ages (Furter 2016), adding more sites such as Delphi, in recent papers and web posts.

Poole counts the ecliptic equator of yearly constellations and planets, and celestial equator of daily polar alignments, as two of his ‘sixteen’ features, concluding ‘an astronomical observatory’. But both equators rise near vertically, thus the east wall as ‘equators’ could be a rotated partial map, concept, not an observation aid. If constellations were meant to be viewed from different vantage points in the yard, and at different times, then Leo and Virgo should lie vertically, as Poole’s ‘Taurus head’ does, not horizontally. And there is no astronomical reason to isolate a mixture of sixteen features, or to place earth sixteenth.

Poole sees here a calendar and ‘measure of precession, as ancient cultures did.’ But precession requires millennia of precise data of ecliptic versus celestial data, and ideally of obliquity, the angle between the celestial pole (see 9c below) and ecliptic pole in Draco, which daily rotates around the celestial pole. The current angle is about 23.4 degrees, which seems to agree with the angle between Leedskalnin’s east and west gates. He may have used encyclopedia data and solstice observations, correcting for deviations from the ideal horizon. Poole (2020) does not mention the gates angle. The oblique north wall angle deserves further study. Available site maps are inaccurate, and aerial photos distort peripheral angles. It may be near obliquity, or near the 61v29 degrees of galactic obliquity, as part of expressing the galactic centre (see 15g below).

1923 Sep 10, a total solar eclipse passed over southern California and Mexico. Florida saw some of the shadow (after Espenak, Nasa).

The 1923 eclipse was remarkable for being close to Venus (and see the Eclipse appendix at the end of this article). The moon occulted Saturn two days later, on Sep 12. But there were four eclipses in that year (partial lunar March 2, annular solar March 17 in Pisces, partial lunar Aug 26 in Pisces, total Sep 10). The Sep 10 total eclipse did not pass over Florida. A 1908 eclipse did. This site deserves more archaeo-astronomical study, since it is one of very few monuments partly motivated by astronomy, and one of very few with partial explanations by the architect.

Florida limestone invites stonemasons

Beach rock is formed by beach sand, often with eroded shell and coral sediments of small round grains, pressured into limestone of concentrically layered calcium carbonate, in layers usually about 1ft thick, when sea level was 20ft higher in the last Ice Age. Massive incidents such as meteorite impacts or ice cap flush, may account for Miami oolite limestone being up to about 1km (4000ft) thick. If a beach is eroded, this rock is exposed to sun, and cracks into pieces up to 12ft long and 4ft to 6ft wide, similar to Coral Castle wall blocks. Wave-driven beach sand may enlarge these cracks, leaving large rounded stones that appear to have fitted together. At Bimini Island in the Bahamas, younger (BC 1000) eroded limestone lies under 15ft of water (Shinn 2004).

Miami rock lies under thin topsoil in south-eastern Florida, from the Florida Keys to Palm Beach County. This rock is more porous than beach rock, and can be cut with an axe or saw. Many buildings in the Miami area, such as the Post Office, and Coral Gables Courthouse, used Key Largo limestone, a fossil coral reef 50 miles south of Homestead, blocks of which were sent by rail. Leedskalnin’s Rock Gate is not of Key Largo limestone, but quarried within a mile of his site. He may have used a local commercial quarry, but himself quarried at Florida City, and later at Homestead. His quarries remain in his Well (see type 13 Below) and just outside his walls, perhaps intending a water moat, but he later filled in the east and west quarries.

Local oolite density is 125 pounds per cubic foot. Rock Gate’s wall slabs of 2.4m (8ft) high, 4ft wide and 3ft thick, weigh 5.8 tons or 11500 pounds. The roughly sculped stones average 15 short tons (14t) each, the largest (see type 10 A below) is 30 short tons (27t). All the shaped stones total 1100 short tons (1000t). Beside one of the quarries are at least two solid metal rods in bedrock, perhaps once connected to the flywheel motor in the workshop to charge groundwater with static electricity (a source that Tesla experimented with extensively), or perhaps to split groundwater into hydrogen, oxygen and calcium. Leedskalnin did not seem to make any technology breakthrough, since his use of wedges, levers and pulleys is evident in photographs and in the workshop.

A man’s home is a movable castle

Edward Leedskalnin was born in Riga, Latvia, 10 Aug 1887, in a family of stonemasons. At age 26 he was engaged to Agnes Skuvst, aged 16, who rejected him the day before their planned wedding. He invited her several times to visit the Coral Castle, but she never came. In a Latvian account, the girl’s name was Hermine Lucis, perhaps a mythical or alchemical reference to myths of Hermes (associated with stone pillars) and an angel of Light.

Ed had first emigrated to Canada, then California, then Texas. Tuberculosis prompted him to Forida City in 1918, where he found help from Ruben and Francis Moser, where he claimed to have been ‘cured by magnets’. He bought 10 acres (4ha) of land from the Mosers in 1913 or 1922, and lived in a shack, then built a sculpture yard. This site was next to the Everglades, 27 miles SW of Miami. Here he dowsed and used a ‘perpetual motion holder’ to start his life project of 28 years.

A 1936 threat of development made him move his ‘gate’ 10 miles (16km) north along the old Dixie Highway (now US1), for three years, to the site now designated 28655 South Dixie Highway, Miami, FL 33033, which is actually unincorporated Miami-Dade county territory, formerly in Homestead, now Leisure City. The former Florida East Coast railway of Henry Flagler to Key West was built in 1912, but destroyed in the 1935 hurricane, the year before Ed moved. In the early 1940s he sold some of his land to the state for building Highway US1 on the rail bed. Today the commercial heritage and tourist site is about 3 acres.

This southernmost city in USA mainland was remote at the time, and Ed was 3.5 miles out of town. Ed died in 1951 while still adding to his Rock Gate, nicknamed a USA ‘Stonehenge’. The site lies between two east-west streams. One stream flows about 1.5 miles north, via Naraga Lakes. The other stream flows less than a mile south. The streams, now partly canals, join about two miles SE of the site, making Leisure City a kind of island.

Florida invites myth and alchemy

Florida was mythologised by early European explorers as containing a Fountain of Youth among its water sources. Rock Gate became part of the rich texture of Florida legends. Leedskalnin was said to build at full Moon, hinting in his pamphlets at ‘Magnetic Current’. Photographs show his tripods with gears, pulleys, and a box at the top. Dowsing water, steel levers, grounding pegs, coils, and apparent chain capacitors were part of his repertoire. He wore shoes with iron soles and rode a bicycle on steel rims. He moved stones on the chassis of an old Republic truck, adding two rails. The chassis was pulled by a friend with a tractor.

A commercial pamphlet claims that he quarried by splitting rock with wedges, perhaps dry wood made wet to expand, as was used in Egypt and elsewhere. He placed and added to his ‘furniture’ sculptures first, then added walls in 1940, all without mortar.

Below follows the standard list of recurrent types in nature and culture, each with the Rock Gate item that subconsciously expresses it (and the relevant optional archetypal features noted in brackets). The full list of known optional recurrent features, and their average frequencies worldwide, is given in the article Blueprint on

Ed Leedskalnin; Rock Gate or Coral Castle, in Leisure City, formerly Homestead, Florida, USA. The obsessive builder used some constellation lines and eclipse planetary positions, but some constellations in this yard have been mis-identified, and contradict the archetypal subconscious cosmology in the plan. (Aerial photo after Crystalinks. Archetype labels and axial grid by E Furter).

Type Label; Rock Gate item (noting archetypal features):

2 Builder; Feast of Love Table, with seven seats (cluster). Constellation Pleiades may have been intended. Heart-shaped (more typical of 12/13), central heart-shaped flower (spring) bouquet bowl (pit, rain). Rock cups or bowls is a conscious theme in the park (see also 9), perhaps indicating groundwater.

2c Basket; South central stone with a plant (weave, container).

2c; Moon-dial in the back wall, seen if you climb on a stone (position uncertain). C-types are off the axial grid, but between specific axes.

3 Queen A; Tree Table, a stone quarried with a tree, since replaced by a palm (long neck).

3 Queen B; Small stone.

4 King; Workshop or Tool Room (‘kiln’). Under (twin) House or cubic Tower (squat, king, rectangle), walls of four layers of 5ft or 8ft stones, roof of 3 blocks, each about 1t.

4; Star-shaped (sun?) table, symbol of Latvia, with porridge bowl depression, perhaps as a lake, or sign for groundwater. If this table were in the centre of the ‘cave’ it would express type 4p’s opposite, 11p, analogous to constellation Crater, Grail.

5a Priest; Obelisk at West Gate.

5a-b Priest; West Gate, spring and autumn equinox sunset.

5a-b; Triangle Slab. C-types are off the axial grid, but between specific axes.

5b Priest; Small stone near East Gate.

5c Basket Tail; A feature near East Gate, now under canvas.

6 Exile; Small (small) stone.

7 Child; Two Lounge Chairs (as a chariot?) placed L-shaped, where they are joined at their feet end (‘eyeless’).

7; Book Table.

Leedskalnin’s Rock Gate with a type 7g T-shaped pillar near the wall bend, middle foreground (photo after Wondergressive. Archetypal axial grid by E Furter. See the grid labels in the main image).

7g Gal.Centre; Block on edge with small heart-shaped cup on top, perhaps as Washington DC?

7g; North diagonal wall gate (juncture, path, gate) at the edge (juncture) of the former Florida Keys railway (path), later South Dixie Highway, now Highway US1, here oriented 50 degrees east of north.

7g; T-shaped Block and cap (juncture), like a Spanish taula.

7g Path (path) to the outer Pond (water). The precinct outline is a stylised vortex, resembling half of a galaxy, which may have been part of the conscious intention to demonstrate earth energy. See a note on the outline of French Fort Roppe below.

8 Healer; Large pond (more typical of 7g), perhaps as North Atlantic Ocean. The 9c Polar Scope obelisk (pillar) stands in the eastern end of the pond, perhaps as a Pillar of Hercules at the Mediterranean Sea.

9 Healer; Florida Table (disc) south tip. The conscious intent included the position of the site at the southern tip of Florida, yet the axial grid was unknown to artists before 2014, and unknown to builders before 2016. The state outline is bent (bent). A depression or finger bowl marks Lake Okeechobee. Nine chairs (‘pillars’), perhaps as an earth energy focus (heal), each 1000 pounds. He envisioned the Florida governor and cabinet meeting here. Constellation Scorpius may have been the conscious intention, but certainly is subconscious expression (opposite the Taurus Pleiades Love table which also has a bowl).

9c Sundial (instrument, reveal) gnomon (pillar) of two metal bars embedded in the porous stone, cast a shadow on a looped pattern in the scalloped (disc) and cemented rock below, uniquely inscribed with loops (weave, snake), numbered to tell hours 9am to 4pm, with numberless loops between for half hours; the bottom of the pattern for midsummer, the top for midwinter. Perhaps as Greenland or Iceland. Calibrated by data from the Polaris scope.

9c; Polar Scope (instrument, reveal) sighting obelisk 20ft outside the north wall, 7.6m (25ft), about 30t or 40 000 pounds. The hole in the top is aligned to a sight hole in the north wall at eye level, both with cross-hairs, to the star Polaris near the north celestial pole. Inscribed ‘1940’, and with a sun flanked by two earths on an S-shape (as on the metal door). The scope line feels magnetic. A guide said viewers tend to twist (twist, of 2c opposite 9c) or fall over (bent).

10 Teacher A; Moon Fountain, two upright crescents (‘arms’ up) or benches of 18t or 36000 pounds each, left as first quarter or growing, right as last quarter or waning, central bowl as full moon, largest stone in the yard at 30 short tons (27t) or 46000 pounds. In the centre is a six-pointed Latvian star, with a wave pattern around, perhaps as moon apparent orbit or model of tides, with fish and plants (ecology). Perhaps as Indian Ocean, or Australia.  Moon is a frequent feature of type 3 opposite.

10 Teacher B; A-shaped lintel. a massove pointed profile block, perhaps expressing Libra constellation hosting Jupiter and USA Midheaven in the 1923 eclipse. The site plan is inconsistent with a star map, but highly consistent with subconsciously inspired cosmic structure.

11 Womb; Body (womb) of the corner wall slab with a ‘planet’ or the star Spica, Wheat Ear, as head. This identification agrees with the builder’s conscious intent as deciphered by Poole (2020, citing 2019). But see 11p among the polar features at the end of this list.

12 Heart; Throne Room (interior) Small Crescent (rounded) as Mars (war), or constellation Leo head, part of the wall.

12; Three rocking chairs.

13 Heart: Well (interior, water-work), a former quarry. Steps spiral (rounded) down (invert) bedrock to groundwater about 6ft down. An underground room to get water, cool off, or store food. Somewhat like Mayan and Inca cenotes. The Well entrance is gated by a rolling (rounded) stone, a kind of valve (heart) or Rock Gate.

13; Rock Gate or East Gate, a pivoted revolving stone and main gate, for which Ed named the yard. This gate is incidentally a kind of valve, as in the heart. Spring and autumn sunrise shines a beam into the Well on two dates per year at a certain hour in the morning. Its mass is said to be a symbolic 9t ‘short’ (8.2t), but for its 6.666ft or 80 inches width, 7.6ft or 92 inches tall, and 1.79ft or 21 inches thick, it should weigh 5.6t (Bibliotecapleyades), perhaps 6t with its steel, or 9t with its lintel, gable, King Stone or Crown, resembling a Stonehenge trilithon of 3t, taking the height to 8ft. This rock turnstile stopped turning in 1986, when six men and a 45t crane were used to repair it. It has a metal shaft through a hole from top to bottom, held by a hole in the lintel, and rests below on a truck bearing that rusted. It failed and was repaired again in 2005. Visitors get headaches in the archway, perhaps due to earth energy from the shallow groundwater.

13c Basket Head; Edgewise wall slab (bastion, of 13) between Bath, and short staircase inside Rock Gate. C-types are off the axial grid, but between specific axes.

13c; Black Slate Mirror water bowl, a domestic and visionary instrument, like a shamanic mirror, or ‘smoking mirror’, as of Tezcatlipoca, a Mayan vision god. This feature would ideally be just north of the Bath.

14 Mixer; Bath-Tub, heated by sunlight (time, transform).  Lined in mortar.

15 Maker; Obelisk, opening near the top (‘face’) as a Latvian star or sun. Said to rest in a shaft 4ft into bedrock. Topped by a small flag-shaped weather vane (churn). Inscribed: “Made 1928. Moved 1939. Born 1887. Latvia, E.L.” The word ‘Made’ and the builder’s initials incidentally express type 15 (which is given the generic label Maker in the stoneprint model of structuralist anthropology). The two placement dates express the feature ‘doubled’ (each type has several optional features, one or two of which is usually expressed, each at a fixed average frequency worldwide, confirming that all structuralist features of artworks and built sites are subconscious and guided by archetypal inspritation). Height 7.6m (25ft), about 22t. The brightest star, Spica, may have been the conscious intention (some authors identify ‘Taurus Hyades’ here, as the bull face rising upward. But that would require different viewing points to match rising constellations to the eastern wall profile. Conscious and subconscious motives usually contradict one another in cultural media, without invalidating one another.).

15; Two (doubled) Beds, twelve Children’s Beds, perhaps as a smaller zodiac, Rocking Cradle (churn) of 155 pounds, and child’s rocking chair.

 15g Gal.Gate; Obelisk Gate (juncture), south-east or midsummer sunrise (juncture).

15g; Repentance Corner, a rock contraption to punish (order, of 15) a wife or children by lowering a head into a vertical slit, blocked by a wooden wedge (juncture, smite, of 15), with a bench where the builder could sit to talk to the wrongdoer.

15g; Barbecue, in a block cut through crosswise like a tackle block. A 3D shape similar to what Robert Temple (2002) named a space-packer. Its fire-pit is an elemental opposite to the three or more water bowls in other stones. Its cooker or pot is of two (doubled) gearbox shells.

Other features on site include a Metal Door, carved with an S-symbol for solstices, sun central, earth at top and bottom, inscribed 21 Earth, for Dec 21 and June21, or for 3×7, as on 9c Polar Obelisk.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Workshop (hyperactive, of 5) corner (juncture). With flywheel motor of concrete and magnets (electricity, of 5), near a metal pole or pipe into bedrock (juncture), connected to chains, perhaps to charge groundwater.

4p; Playground Grotto (juncture) of Three (polar trio) Bears and Goldilocks, with beds, chairs, porridge bowl, perhaps as constellation Crater, Grail. The conscious intent was circumpolar constellation Ursa, Bear, but it should be at 11p if the campus were a consistent star map, which it is not. This position is one of many indications that the builder did not model a star map. ‘Cave’ is one of the subconscious features of the Taurean constellation group. Here in its subconscious polar function, it may imply ‘under earth’, thus the three southern poles. The Vortex curve of the Cave’s western side is analogous with decreasing polar precession, which may have been the conscious intent, but its central feature is not at an obvious polar position, nor at a structuralist polar position. Compare this expression of polar precession to the Gobekli Tepe House C floor joists spirals (Furter 2016 p140-161), which are incidentally astronomically correct, yet subconscious. Bears Cave outline resembles Ice Age semi-underground dolmens, such as Skara Brae in Orkney (Furter 2016 p168).

4p; Staircase (juncture) to House, 16 steps. Some stoneprints have several p-types in the field between the two adjacent axes, particularly when polarity is one of the general themes of the expression, as it is here. Polar features are more often nearer the centre, and rarely among character features. (See notes on other general themes below).

11p Gal.Pole; Saturn wall slab. Polar features are rarely among character features. Saturn was in constellation Virgo (sign Libra 18 44’) during the 1923 Sep 10 eclipse.

11p; A Rocking Chair.

11p; Camera Stand (juncture) for photographs (position uncertain, perhaps the large round stone, which may consciously express the 1923 eclipse identified by Poole (2020, citing 2019).

11p; First Rocking Chair on a raised platform (juncture).

11p; Throne Room’s Large Crescent (rounded, of 12) as Venus, or constellation Crater, Grail. Part of a wall slab. Brought from the first site at Florida City. Perhaps also as Asia or the Mideast.

11p; Four thrones; large, medium, small, uncomfortable, and love table. Near a ‘mad’ rocker block with two seats facing away from one another. This ‘family’ furniture indicates father, mother, child, relative, quarrel and reconcile.

Midsummer; Sun Couch, diameter 8ft, rotates (juncture, polar) for tanning. With three (polar trio) rock pillows. If the plan were a star map, the sun should be at the axial centre, analogous to the ecliptic pole, or in one of the constellations along the wall.

Midwinter; A small stone (juncture?).

These solstice markers are nearly on axis 14v6, analogous to Cancer-Capricornus, implying spring and the cultural time-frame in Age Aries. This approximate calibration is typical of works made in Age Pisces. Most artworks and built site express the time-frame of the foregoing Age. The Age may be confirmed by the prominence of the type 3A Tree Table, and its opposite, type 10A Moon Fountain in the largest block in the yard.

Scoring this built site analysis is postponed, since further study of the site would reveal more of the known recurrent features. The analysis scoring format is __/68 archetypal features; __/16 axial points; __/4 c-type sector features; _/2 g-gate sector features; _/5 polar markers; _/2 planar or cardinal orientations; _/1 correlation with the Age, or Age prior to the work; _/2 general themes; thus __/100, minus __ extra characters off the axial grid; total __%. The total would probably be near the worldwide average of 60%.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture. This plan is not a star map, but a few conscious constellation features agree with the archetypal spacing, which is unusual. And a few semi-conscious symbolic features agree with cosmology, notably the polar trio, which the builder intended as part of his emphasis on the ‘Tesla’ numbers three, six and nine.

Domestic, cosmic and energy themes

Conscious themes in this theme park include ‘family rooms’, perhaps inspired by the name of the city Homestead; and calendar, stars, seasons, cosmology and earth energy. He used the polar scope (see 9c) and sundial (see 9c) to tell the position of earth in the solar system at any time.

Subconscious dominant general themes in this work are revealed by extra features of many of the archetypally recurrent types, indicating a high level of integration, typical of mythical and alchemical works.

The main cluster of dominant themes includes:

1 /2 v 8/9 Builder v Healer, typical of twist (here curved sculptures and curved Well), cluster (campus, and several media), bovid (moon horns), tower (two obelisks, and double story house), build (quarry and model ‘rooms’), ruin (submergence implied by limestone), book (codes and numbers), maze (paths), pit (well, and ‘grotto’ playground), and rain (water cups); opposite bent forward (curved and angled walls), strong (massive stone), pillars (obelisk, and raised planets), heal (energy, bath, couches), disc (tables), or trance (inspiration).

2c v 9c Basket v Lid, typical of weave (sundial lacing), instrument (polar scope, sundial, metal rods, revolving door), container (cups), throne (Throne Room chairs), secret (reclusive work, enigmatic pamphlets), arm-link (levers, pulleys); opposite disc and lid (tables), reveal (tour, education), pillar (monoliths and megaliths), or metal (tools, wires, chains, levers, shoe soles).

3v10 Queen v Teacher, of long necks (obelisks), queen (dedication to lost love), school (tour and education pamphlets), pool (Well, Fountain, cups, north Pond); opposite guard, metal, disc, council (Florida Table for ‘state cabinet’), ecology (Fountain), or carousel (tour circuit).

The secondary cluster of themes includes:

5 v 12/13 Priest v Heart, of assembly (family, cabinet), or water; opposite water-work (Well, Bath, groundwater).

6v14 Exile v Mixer, of horned (crescent skyline, and Fountain moons), time (sundial, seasons, geology), transform (quarry, sculpt, symbolise).

The tertiary cluster of themes includes:

7g-15g Gal. Centre v Gal. Gate, of junctures (levers, pulleys, chains), paths, gates (here four), water (Well, Fountain, Pond, cups ), cardinal plane from the axial centre (celestial alignment, polar scope, probable solstice and equinox sunbeams).

Perhaps also a world map in a cosmic yard

If Rock Gate yard doubled as a world map, these main features may consciously or subconsciously express continents or regions: 9 Florida Table as USA; 7 L-shaped Chairs as Canada; 7g Oblique Gate, highway, and Pond as North Atlantic Ocean; 9c Polar Scope as Greenland or Iceland; 10 Moon Fountain as Mediterranean Sea; 11 Saturn as Europe; 11p Venus crescent as Mideast; 13 Mars crescent as Arabia; 14 Well as India; 15 obelisk as China; 2 Heart Table as Australia; 3 Tree Table as Antarctica; 4p West Gate as South America.

Florida’s Rock Gate outline resembles France’s Fort Roppe

Rock Gate has a minor defence castle theme and motive. The wall outline is similar to Fort Roppe at Belfort near the eastern border of France, at N 47° 40′ 50″, E 6° 53′ 60″. Its rectangle is aligned east-west, with an oblique point west (Rock Gate rectangle is aligned north-south, with an oblique point north). France in 1875 to 1877 built a second ring of fortifications around Belfort city, part of the Séré de Rivières system against artillery attack. Fort Roppe, also named Ney, guarded the road to Colmar, with Fort Giromagny; and the road to Basel in Switzerland; and Fort Bessoncourt’s flank; and Fort Salbert. Roppe had 50 cannons and 650 men, and three more batteries nearby. Inside is a well and a cistern (as in Coral Castle). In 1889 an underground troop shelter was built just outside the perimeter on the southwest (Leedskalnin could not turn his quarries outside his walls into tunnels, since the water table is just 6ft under the surface). From 1893, Fort Roppe was linked to batteries, and other forts via the Chemins de fer or Belfort strategic railroad (Coral Castle is right next to the former Florida Keys rail, now Highway US1). Underground galleries shielded with concrete were built in the First World War. In 1940 the fort was manned by the 7th Battery of the 8th Army, Group 3. From 16 March 1940, RF Belfort became 44th Fortress Corps. In the Battle of France 1940, 400 men sheltered here for three days before surrender. Roppe is now abandoned, but still off limits. Leedskalnin first emigrated to Canada, where he may have met French soldiers. He spoke four languages, perhaps including French. His project started just before and during WWII. His motives were a curious mixture of privacy, education, and exhibitionism, yet defence may have been part of the motive.

Appendix: Eclipses re-energise the world

Eclipses have more direct influence on the electro-magnetic texture of earth and life, than any other brief celestial event. Alignments of sun, moon and earth disrupt tides, and are analogous to an electric generator or motor, all of great interest to Leedskalnin, who may have considered gravity as a kind of magnetism (now considered a kind of space curvature). Astrologers see eclipse series or Saros cycles as re-activation points of place, time and the energy-matter interplay. The 1923 Sep 10 eclipse, in the year Leedskalnin started building a kind of cosmic gate, had sun and moon in sign Virgo at 17 degrees 2’ minutes (Cowell 2010), thus in constellation Leo at 16 degrees, under its belly. Venus was conjunct with this eclipse at 17 13’. Jupiter was at sign Scorpius 14 12’, conjunct Midheaven at 17 24 (both in the middle of constellation Libra). In the USA, the rising sign during the eclipse was sign Capricornus 24 47’ (constellation Sagittarius). Saturn ruled the eclipse chart at sign Libra 18 44 (constellation Virgo, see 11 below).

Astrology offers some calibrated insight into the time and frame of mind that shaped the USA, Leedskalnin, and his Rock Gate. Jude Cowell (2010) noted a 1923 September grand trine of Jupiter, Uranus and Pluto in the three water signs, with Pluto at the USA natal Sun, implying “urge for increased power [including electricity] and influence [including corporate, financial, administrative, criminal] and aggression [defence] and ego for a new start in isolation.” The USA was consciously replacing and out-pacing Europe. Cowell saw Saturn ruling via sextile Neptune as “opportunity for placing inspired creativity into physical form; and via the opposite Chiron regaining its USA natal position half an hour before the eclipse, in its second of five Saturn conjunctions in 1923 to 1925, on Sep 20. Mercury was in sign Libra at 12 23’ (constellation Virgo).

Pluto was in sign Cancer at 12 10’ (constellation Gemini), near the USA 1700s natal Sun position. Conjunctions of Uranus and Neptune, wrote Cowell, “act as a ‘sun’ of vaunted self-regard [as in commodified art and baseless media ‘reality fame’], creative, sensitive, motivations via insightful, inspired dreams or meditations, experience directing confused people, unconscious [subconscious]; impassive, receptive, wake v sleep [to which Pucchini’s aria Nessun Dorma, Let No One Sleep, could be a soundtrack]. Thus subconscious behaviour is a major part of the time and frame of mind that shaped Rock Gate. Neptune was in Leo, reminding Cowell of the Charleston dance, showy, dramatic, entertaining, in the era of Flappers [liberal women wearing headgear styled after pioneering world-circuiting pilot Amelia Erhard, who crashed at sea].

The 1923 Sep 10 eclipse featured Uranus trine Neptune, indicating “illumination, inspiration, inflation, as in all of eclipse series North16, manifested since 1599… the awake-asleep pair of transpersonal planets, of inner vision, extra-sensory perception (ESP), spirituality, mysticism, together capable of eliminating waking consciousness.” Cowell cites Brady’s Predictive Astrology: ‘Eclipse series North 16 has inspiration and illumination of ideas from Uranus/Neptune, sudden release of material from the unconscious [subconscious].’ She notes 1923 for Kahlil Gibran’s Prophet, Picasso’s Pipes of Pan, Joan Miro’s Tilled Field, New York and Chicago illegal Speakeasy bars, and F Scott Fitzgerald’s Great Gatsby, steel hot-strip rolling [big steam ships], 1923 German currency collapse, riots, strikes, coups, dictators. To which could be added gangsters, corporate, financial and industrial rule over states, and psychologists Freud and Jung gently revealing some archetypal features of behaviour.

Michael Munkasey linked Uranus-Neptune aspects to ‘new ideas or dreams… groups formed to exploit energy, oil, chemical resources, sudden surges in illegal drugs, subversion using new methods of gathering information.’ Leedskalnin’s derision of ‘long-haired scientists’ is typical of counter-culture popular science.

In the 1923 Sep 10 eclipse, Sirius regained its 1776 USA foundation position, which Cowell links to “inflation of emotions and financials for a decade, until the Crash of October 1929,” and the Water trine of passivity [movies, TV] and a search for soothing nurture (sweets, soft drinks, pills, alcohol, drugs); merging with the divine source [ecstatic religion and mystery cults], escapism [entertainment, boat cruises], parties, drink, creative [after Egyptian styles], prone to unconscious forces [archetype]. The Grand Trine had three midpoints, at Pluto, linked to objectives and striving for knowledge and understanding [physics], drive for success and publicity; at Uranus, linked to quick exploitation, sudden reforms, fanatical improvements; and at Jupiter, linked to success [cars, radio, TV, nuclear], social reforms [green revolution], pursuit of religious or philosophical aims [Theosophy, séance, cults]. These impulses are prone to fanatical misdirection.

Some sources

Carr, D. 2014. Investigating Coral Castle.

Coast to Coast Am; Coral Castle [aerial photo oblique]

Cowell, Jude. 2010. Horoscope of the ‘Roaring 20s’ Solar Eclipse: why it $till matters. Stars over Washington blog

Crystal, Ellie. (undated). Coral Castle. http://www.Crystalinks

Doore, Kathy. 2017. Coral Castle, a Geomantic Wonder. Lessons in Interdimensional Physics. Labyrinthina, Facebook

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.

Leedskalnin, E. A Book in Every Home. Pamphlet re-published on site

Poole, R.L. 2020. Leedskalnin Codex: Breakthroughs in Understanding the Coral Castle. March AOM. (Citing his book of 2019 of the same title. Amazon)

Radford, B. 2018. Mystery of the Coral Castle Explained. Live Science, 1 June

Shinn, E.A. 2004. A Geologist’s Adventures with Bimini beachrock and Atlantis true believers. Skeptical Inquirer 28(1):3&44

Stansfield, W. 2006. Enigma of Coral Castle. Skeptic, Vol 12, No 2. Skeptics Society

Stoner, R.N. 1983. Enigma of Coral Castle. Pamphlet. Preface by Michael H. Bradford, Bradford Institute of Ultra Science. Cape Coral, Florida

Stride. J. 2012. Flywheel Measurements at Coral Castle. http://www.Code144

USA National Registry of Historic places. Application for inclusion; Coral Castle

Temple, R. 2002. Netherworld. London. Century










www.wikpedia. Fort Roppe


By Edmond Furter

Edmond Furter wrote the book Mindprint, the subconscious art code (2014,, to demonstrate five layers of recurrent features in 200 artworks of all cultures and Ages, revealing the archetypal core content of culture. His second book, Stoneprint, the human code in art, buildings and cities (2016, Four Equators Media), expands demonstrations of the subconscious expression of archetypal structure to houses, temples, monuments, pyramid fields, geoglyphs, villages, cities and regions. The same structure also appears in mythology, such as Babylonian building rituals; and in reflexology points in our hands and irises, thus in nature. Stoneprint also demonstrates that the periodic table is a kind of natural 'culture', and that culture is a natural 'species' of behaviour. The structure in our works is as rigorous as grammar or DNA.
The books Mindprint, and Stoneprint, and editions of the structuralist anthropology periodical, Stoneprint Journal (some of which are available on, draw on extensive research in iconography, archaeology, history, esoterica, astronomy, art history and structuralist anthropology, spanning 26 years.
The core content of culture includes about 100 recurrent features of the sixteen main types, their sequence, five polar markers, and a time-frame orientation, that nature, individuals and societies subconsciously and compulsively express in all media. The mindprint or stoneprint model of structuralist anthropology has several major implications for all the human sciences, and offers a theoretical bases for a holistic approach to the study of the cultural record. Edmond Furter works as a freelance researcher and editor in Johannesburg.
Order the book Mindprint at $30, or the book Stoneprint at $30, or editions of Stoneprint Journal at $5, plus postage, on edmondfurter at gmail dot com; or Mindprint, or Stoneprint Journal editions on

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