astrocartography astrology horoscope Grace Kelly chart symbolism planets Mercury Uranus Jupiter biography of Grace Kelly astrocartographer Robert Couteau
The Role of the Least Aspected Planet in Astrocartography.
Planetary Symbolism in Astrocartography and Transcendental Astrology,
by Robert Couteau.
All text © Copyright 2005 Rob Couteau
Mercury,
Jupiter,
Uranus = 011
Neptune = 021
Venus = 120
Mars = 200
Pluto = 210
Saturn = 211
Sun = 300
Moon = 411[Least-aspected Mercury-Jupiter-Uranus]
Grace Kelly
The characterization of New York as a power center for Grace occurs repeatedly in her biography. Her most important “contact” (Primary Mercury) occurred there, when director Gregory Ratoff requested that she audition for Taxi (1953). According to James Spada: “Grace’s screen test for the part was to be instrumental in winning her two other roles which began her ascension to Hollywood stardom.” Although John Ford was “unmoved by Grace’s performance in High Noon,” he reevaluated his assessment of her “skills” (Mercury) after viewing her New York screen test for Taxi, and she was subsequently signed for his film, Mogambo (1953). Some of the African settings of Mogambo would transport her to the vicinity of her other Primary Transcendental, Jupiter, which is positioned in a vertical, Midheaven line along the east coast of Africa. During the shooting of Mogambo, she had the “opportunity” (Jupiter) to work with such notable film stars as Clark Gable and Ava Gardner.
The Taxi screening brought her to the indulgent (and even obsessive) attention of her most devoted director, Alfred Hitchcock, whose direction of Grace in Rear Window (1954) would catapult her to real stardom. Hitchcock “had seen Grace in High Noon and a rough cut of Mogambo and was not impressed. But as he sat watching her test for Ratoff, something about her moved him profoundly.”3 Her initial experience with Hitchcock was significant. She said that, under his tutelage (the making Dial M for Murder; 1954), she learned “a tremendous amount”: that “acting was more than a trick of waving your eyelashes, and that to be a success, you had to work with your whole body. I worked so hard after that.” After appearing in a minor role in Dial M, she was subsequently offered a leading role in Hitchcock’s Rear Window. With the success of Rear Window, “suddenly Grace Kelly was a box office draw.”4
In the summer of 1953, while working on her third Hitchcock film, To Catch a Thief (1955), a portentous event occurred on the set:
One romantic scene between [Cary] Grant and Kelly on the Moyenne Corniche above the Mediterranean featured, in the background, the palace of Prince Rainier Grimaldi, the absolute monarch of the tiny principality of Monaco. When Grace and several of the crew members later drove around the country, she was entranced by descriptions of a spectacular garden on a high plateau which was impossible for them to reach.
“Whose gardens are those?” she asked screenwriter John Michael Hayes.
“Prince Grimaldi’s,” Hayes replied. “I hear he’s a stuffy fellow.”
“Oh,” Grace said wistfully. “I’d like to see his flowers.”5
From the start, Grace was intrigued by the Jupiterian splendor of the Grimaldis and their estate.
Spada notes that she “loved the Riviera, just as she thought she would, and went sightseeing whenever fatigue didn’t completely overtake her.” Although she briefly visited Monaco and Monte Carlo–moving ever closer to her Primary Mercury line–she failed to meet the Prince during the making of the Hitchcock film. She returned to New York in the fall of 1954 and remained there until spring of the following year. It was only due to “considerable pressure”6 that she returned to the Riviera, when Look magazine’s Rupert Allen and the head of the Motion Picture Association of America persuaded her to accept invitation of the French government to attend the Cannes Film Festival.
As she prepared to fly to France, Grace was unaware of a conference taking place in the offices of Paris Match magazine–a meeting that set in motion a series of events that would ultimately change her life forever....
Pierre Galante, Paris Match’s movie editor, read aloud a list of celebrities scheduled to attend, and all agreed that Grace Kelly, who had just won the Oscar, would be the festival’s center of attention. They wondered, however, how to cover her in a provocative enough way that their story in itself would be newsworthy. Managing editor Gaston Bonheur, musing aloud, asked Galante, “Do you think you could arrange a meeting between Grace Kelly and Prince Rainier of Monaco?”7
Grace was introduced to the Prince on May 6, 1955; their first promenade through the palace gardens enabled Grace to walk beside the flowers she had previously admired from a distance. Almost a year later, they were married in a civil service in the palace, on April 18, 1956. (They were again married in a religious ceremony, on April 19, in Monaco’s Cathedral of St. Nicholas, shortly after 10:30 A.M.)
Primary Jupiter sets several degrees north of Ireland, forming a wide Transcendental Midpoint-Field (with Primary Mercury) over western Europe. Jupiter is also in close proximity to her ancestral home in Killann, Country Mayo. Grace was fascinated by the notion of ancestral roots: the “avidity of her interest,” writes Spada, “led her to purchase a library of five hundred books on Irish history and culture.” In 1961, accompanied by the Prince, she made her pilgrimage “back home” (as they say in Ireland). “The most emotional point of the trip came as Grace paid a visit to the thatched hut in which her grandfather John Henry Kelly had lived before coming to America.... Her emotion almost overcame her as she sat in one of the cottage’s two rooms.... The entire pilgrimage was a spiritual odyssey that brought back into sharp focus for Grace the sense of her own cultural heritage that had been blurred in the American melting pot and nearly obliterated within the national chauvinism of Monaco and France.”8
Revised & updated:
5 August 2005
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Role of the Least-aspected Planet in Astrocartography
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'The Role of the Least-aspected Planet in Astrocartography.'
II. Transcendental Biographies | III. Transcendental Events
IV. Psychic inflation - Summary of Planetary Symbolism - Transcendental PlanetsV. Nodes / the Triple-zero Transcendental | Appendices: Orbs / References / Data
Additional Maps | Notes | Bibliography | FAQ
Postscript:
I. Interview in Astrolore | II. Transcendental Nations | III. American Presidents & LAP SaturnIV. World Events | V. Numinous Consciousness
VI. The LAP as a metaphor of the soul | VII. Zones of Intensity |
VIII. Complete Index of Names and Events
All text © Copyright 2003 Robert Couteau and cannot be used without the written and expressed consent of the author.
Robert Couteau astrocartographer biography of Grace Kelly Mercury Uranus Jupiter planets symbolism chart of Grace Kelly horoscope astrology astrocartography
