22:
307:
239:, in tandem with Renaissance Europe, integrated symbolism from the western esoteric traditions of alchemy and astrology into works of art, including the funerary monument. The Layer Quaternity in their totality are a unique alchemical mandala. Through polarised symbolism they delineate essential coordinates associated with mandala art, namely Space (Heaven and Earth) and Time (Young and Old). They also represent fundamental aspects of the human condition, namely, gender, youth and age, as well as pleasure and suffering. In essence, the Layer Quaternity, not unlike the
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263:. Much of his in-depth study and observations upon the function and role of the quaternity in religious symbolism is applicable to the Layer Quaternity. To Jung the quaternity was a natural expression of differentiation which always represents a totality, citing the four elements, the four seasons, the ancient Greek schemata of the
146:
The similarities between the captioned phrases of
Libavius' illustration to those of the single-word titles of the Layer Quaternity suggest that in time sequence, the Layer monument was based upon and installed before 1606, the publication date of Libavius' illustration.
130:
Libavius' illustration and the marble sculpture of the Layer
Quaternity share an identical pairing including a naked figure (lower pair), a bare-legged royal male and a regal draped female (upper pair) as well as the titled captions
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The symbolism of the four entities of the Layer
Quaternity exemplify Jung's observation that individuation develops through psychic qualities consisting of two pairs of opposites, which are often polarised to each other.
282:
As such, the Layer
Quaternity may be viewed as exemplary of Renaissance-era psychology. Its four highly-symbolic figurine entities are simultaneously, a 'map' of the psyche, and a highly-original alchemical
235:, (Peace, Glory, Vanity, Labor) are relatively rare examples of Northern Mannerist sculpture extant in Britain. Collectively they exemplify how Christian iconography during the era of
64:
art, namely, portraiture of animated human movement, variety and multiplicity, often set in the
Classical or mythological world, and inclined towards esoteric concepts.
41:
547:
429:'Spiritual powers of the mind comparable to psychic powers such as thought, love, hate, imagination, hope, fear'. C.G.Jung CW 13:206 citing
100:) in which two giants support four figures, the lower pair of which are mortal, the upper pair immortal, they form the apex to –
251:) are a quaternity of differentiated virtues or psychic entities which represent a complete wholeness or totality in sum.
433:,'They emanate from the soul in man. Fancy, imagination, speculative faculty, etc. are included under the term.' – from
482:
The Layer
Monument: An introduction and interpretation as an alchemical mandala. Kevin Faulkner pub. Pride Press 2013
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512:
150:
Biblical verse which parallels the symbolism of each captioned entity includes for the lower and mortal pair –
507:
557:
45:
522:
306:
40:, an early 17th-century polychrome mural monument (320 by 350 centimetres ) which was installed in the
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C.G. Jung 'The
Concept of the Quaternity' CW 11 para. 243 – 267 and CW 11 para. 268 -279 pub. RKP 1958
532:
497:
430:
314:
21:
542:
119:
ascending on swan's wings.....the thanksgiving by the Arab king and his white wife reading as –
552:
446:
C.G. Jung 'The
Quaternio and the mediating role of Mercurius' CW 14 para. 5 – 13 pub. RKP 1955
97:
290:
517:
537:
8:
196:
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200:
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1598–1604) share a number of iconographical details to a complex illustration found in
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37:
298:
380:
268:
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C.G.Jung 'The
Philosophical Tree'(1954) 3.The Tetrasomia CW 13 para. 358-68 RKP 1968
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271:, as well as the four Evangelists with their respective emblems in the form of the
260:
204:
89:
455:
C.G. Jung 'The
Quaternity of the Homo Maximus' CW 13 para. 206 -209 pub. RKP 1968
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approximately 25 centimetres (10 in) in height located on the two columns of
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181:
491:
405:
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The role of the Quaternity in religious symbolism is discussed at length by
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163:
103:"Libavius' monument of the opus.......The completion of the Little Work by
417:
395:
Alchemy – Johannes Fabricius pub. Rosenkilde and Bagger, Copenhagen, 1976
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272:
244:
72:
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Then I looked on all the works that my hands had wrought, and on the
33:
187:
The Layer Quaternity also corresponds to the alchemical 'deities'
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188:
166:
2.v.11 With an antithetical response from the upper, immortal,
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exhibit primary thematic concerns and stylistic attributes of
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and vexation of spirit, and there was no profit under the sun
16:
Four marble sculptures in the columns of the Layer Monument
76:'The Philosopher's Stone' from 'Alchemia' (1606) Libavius
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The Layer Monument with four Northern Mannerist figurines
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The four figurines housed in the monument's pilasters,
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Church of Saint John the Baptist, Maddermarket, Norwich
111:(Latin lower captions translated) is followed by
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156:that I had laboured to do: and, behold, all was
56:The quartet of figurines sculptured in marble,
408:Life and Writings 1910 reprint 2003 Ibis Press
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275:in Christian iconography, as examples.
207:(1617) by the German alchemist-physician
139:, along with the symbols of palm branch,
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305:
297:
289:
71:
20:
548:Marble sculptures in the United Kingdom
420:The Alchemical Mandala pub. Phanes 1989
67:
490:
127:". (Latin upper captions translated)
247:(which are discussed by Libavius in
175:to God in the highest, and on earth
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14:
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88:(1606) by the German academic
1:
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7:
203:as named in emblem XVII of
10:
574:
255:Psychological associations
58:Pax, Gloria, Vanity, Labor
32:are four marble sculpture
287:in western funerary art.
125:I will exalt thee my God
51:
379:Mannerism Pelican 1967
98:The Philosopher's Stone
94:De Lapide Philosophorum
319:
311:
303:
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179:, goodwill to all men.
92:in a chapter entitled
80:The Layer Quaternity (
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26:
513:Sculptures in England
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309:
301:
293:
75:
24:
508:Mannerist sculptures
121:Glory to God on High
68:Sources of symbolism
30:The Layer Quaternity
558:Mercury (mythology)
404:J.B. Craven Count
320:
312:
304:
296:
105:Labor and Industry
78:
62:Northern Mannerist
38:the Layer Monument
27:
523:Religious symbols
435:Lexicon Alchemiae
269:four temperaments
46:Christopher Layer
44:to the memory of
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533:1600s in England
498:1600s sculptures
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261:Carl Gustav Jung
205:Atalanta Fugiens
109:the grace of God
90:Andreas Libavius
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543:Luna (goddess)
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215:Interpretation
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9:
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553:Apollo in art
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431:Martin Ruland
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406:Michael Maier
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385:0-14-020808-9
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377:John Shearman
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209:Michael Maier
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143:, and moon.
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48:(1531–1600).
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518:Funerary art
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265:four humours
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164:Ecclesiastes
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29:
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538:Hermeticism
418:Adam McLean
237:Elizabeth I
492:Categories
365:References
273:tetramorph
267:, and the
245:Paracelsus
503:Figurines
197:Mercurius
34:figurines
249:Alchemia
241:Scaiolae
170:pair –
168:Heavenly
141:rotundum
86:Alchemia
528:Norwich
310:VANITAS
285:mandala
229:Vanitas
184:2 v.14
437:(1612)
383:
302:GLORIA
225:Gloria
201:Vulcan
189:Apollo
158:Vanity
154:Labour
133:Gloria
318:LABOR
233:Labor
177:Peace
172:Glory
137:Labor
82:circa
52:Style
381:ISBN
231:and
223:and
199:and
193:Luna
182:Luke
135:and
123:and
117:Luna
115:and
107:and
294:PAX
243:of
221:Pax
113:Sol
494::
227:,
211:.
195:,
191:,
162:.
96:(
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