A pregnant mare forms a part of Cinderella (lower head, neck,
right shoulder, and upper arm). Being one with a pregnant mare -
is a touching effect. As a matter of fact, as seen in the conventional
interpretation, Cinderella is very rotund around the midsection, yet
her neck, chin, and face are tight and trim, and so I think, we can
reject the idea of her obesity in favor of her pregnancy, which is
also a nicer way of thinking of others.
Cinderella's body can be dismantled
completely into symbolical
representations of technology, such as a sub with a flexible body,
one which is so advanced that it swims like a fish..
A sailing ship, of which we see two possible versions, navigates
the upper arc of the bossom's lens. A strange, humanlike, yet more
reptilian alien profile occupies the image's left.
To give an idea, on how to look this head up - consider the Flying
Saucer's dome, as the alien's left eye, and Cinderella's head as his
right ear... The alien seems to proudly survey his pyramids and his
The same elements also recombine into a number of animal figures.
Such unity appears non-predatory. Anyhow, it stands in marked
contrast to hunting art.
RP> Is there a connection to UFOs?
Alienlike portraits aside from depictions of ancient technology delineate
such a connection clearly. And then the so called Seal of Atlantis binds
La Marche to Nasca over the span of up to 12,000 years. Regarding Nasca,
it is well known that one can only see the Nasca figures from high above.
Because of this fact, it is natural to speculate if anyone ever could indeed
view these figures like that... - Who? Some of the Nasca trapezoids can be
seen by bare eye from low-orbiting space vehicles...
JH:> Of course, when the lighting is just right,
with your eyes
JH:> half closed you can see the same thing in the clouds; or
JH:> in burning embers [grin]... I presume you mean that you can
JH:> point out images that anyone would recognize once they have
JH:> been pointed out...
That's about it, James. BTW, such recognition is meanigless...
It does no good to recognize machines, etc., in Paleolithic images,
as such "recognition" will be dismissed out of hand.
One has to stop pouting and take stock: "The art is convincing
enough to me, but the same vivid images, although perceived by
others, fail to intrigue them.
I get miscredited for creating the "imaginative" experience, which
the artist didn't really mean to cause... There might never be
serious public interest in these images - lest something much
more convincing is still to be discovered.
The situation reduces to "put up, or shut up... " I put up by
discovering the Engraving's hermetic structure. In turn, that
makes some of my controversial interpretations of La Marche
art more thinkable, if not more recognizable...
While La Marche and Les Trois Freres engravings present virtual
Dream-Worlds, there is a world of difference between them and
freeform clouds, or ink-blots. We're dreaming with the artist.
Our submind cannot project its contents freely upon an ideally
suitable, amorphous background, rather it finds itself limited to
sifting through images, which are already there.