Sir Thomas Browne and the Kabbalah

Today on the birth and death anniversary of the English seventeenth century literary figure, Sir Thomas Browne, its rewarding to look at aspects of the hermetic philosopher's little explored relationship to the kabbalah.

Its only recently that the many prejudices and misapprehensions which once surrounded the vital role and influence which esoteric ideas such as astrology, alchemy and the kabbalah wielded in intellectual history have finally eroded. It’s only now possible to acknowledge Sir Thomas Browne’s interest in the kabbalah as an integral component of his status as one of 17th century Europe's most learned scholars of comparative religion; his Discourse The Garden of Cyrus (1658) reveals him to be none other than one of England’s leading literary exponents of the kind of hermetic philosophy which John Dee (1527-1608) and his eldest son Arthur Dee (1579-1651)  both vigorously pursued.

One of the most valued of all hermetic traditions amongst adepts such as the Dee's, was the mystical Jewish teachings known as the kabbalah, in which number and letter assume magical significance. It was believed necessary to acquire knowledge of the Hebrew language by devout scholars such as Browne, primarily in order to read the word of God as revealed to his prophets in the original written form, namely Hebrew.

A familiarity with the 1711 Sales Auction Catalogue (an indispensable document in the study of Browne) swiftly reveals  the names of leading Hebrew scholars, along with Latin and Greek, Hebrew and even Ethiopian dictionaries as once shelved in his library.  Rather unsurprisingly there are also some jolly thumping big books on the kabbalah listed as once in Browne's library [1]. The two humanist scholars who first promoted esoteric topics as worthy of enquiry in the Renaissance, Marsilio Ficino (1433-99) and his successor, Pico della Mirandola (1463–1494) are both represented, as is, 'the supreme representative of Hermeticism in Post-Reformation Europe', Athanasius Kircher (1602-80).

While Ficino attempted to reconcile the wisdom of Hermeticism and Plato with the teachings of the Church, his successor, Pico della Mirandola (1463-94) focussed on promoting study of the Kabbalah. Pico della Mirandola was the first to seek in the Kabbalah proof of the Christian mysteries. Besides Greek and Latin he knew Hebrew, Chaldean and Arabic;  his Hebrew teachers introduced him to the kabbalah. One of the most startling of Mirandola’s  proposals was that no science gives surer conviction of the divinity of Christ than "magia" (i.e. the knowledge of the secrets of the heavenly bodies) than esoteric Jewish teaching.  Mirandola was an influential figure in the history of Western esotericism and would be taken seriously a century later in England when declaring, 'Angels only understand Hebrew' by would-be Angel conjurers. John and Arthur Dee.

However, the pre-eminent book which influenced the development of Christian kabbalah and which is listed in Browne's library, was by Francesco Giorgi (1467-1540). His book De Harmonia Mundi (1525) is a complex synthesis of Christianity, the kabbalah and the angelic hierarchies.

The seminal British scholar of esoteric philosophy, Francis Yates (1899-1981) wrote of  Giorgi -

'Giorgi's Cabalism, though primarily inspired by Pico della Mirandola, was enriched by the new waves of Hebrew studies which Venice with its renowned Jewish community was an important centre. Cabalistic writings flooded into Venice following the expulsion of the Jews from Spain in 1492. Giorgi grafts Cabalist influence onto the traditions of his order. He develops that correlation between Hebrew and Christian angelic systems, already present in Pico, to a high degree of intensity. For Giorgi, with his Franciscan optimism, the angels are close indeed, and Cabala has brought them closer. He accepts the connections between angelic hierarchies and planetary spheres, and rises up happily through the stars to the angels, hearing all the way those harmonies on each level of the creation imparted by the Creator to his universe, founded on number and numerical laws of proportion The secret of Giorgi's universe was number, for it was built, so he believed, by its Architect as a perfectly proportioned Temple, in accordance with unalterable laws of cosmic geometry'.....In Giorgi's Christian Cabala, the angelic hierarchies of Pseudo-Dionysius are connected with the Sephiroth of the Cabala... The planets are linked to the angelic hierarchies and the Sephiroth'.[2]

It was while in London, engaged in a diplomatic errand that the Franciscan monk Giorgi met the Elizabethan magus John Dee. There is thus a quite distinct traceable link between the Renaissance founders of the Neoplatonic, Neopythagorean and Cabalist traditions, namely Marsilio Ficino and Pico della Mirandola via the Franciscan monk Giorgio and his advocacy of the Cabala to John Dee via his son Arthur Dee to Sir Thomas Browne. This hypothesis is strengthened by the fact that that both John Dee and Browne each possessed a copy of Giorgio’s highly-influential work De Harmonia Mundi. Unless that is Arthur Dee bequeathed his father's copy of De Harmonia Mundi  to Browne [2] but that would be no less of a strong link!

Browne’s respect for the Kabbalah can be discerned in his encyclopaedia Pseudodoxia Epidemica where one encounters the somewhat indignant exclamation - 

Astrologers, which pretend to be of Cabala with the Stars (such I mean as abuse that worthy Enquiry) have not been wanting in their deceptions; [4] 

Browne’s understanding of the kabbalah included an awareness that in the Hebrew alphabet each letter also denotes a number, of either fortunate or unlucky disposition thus-  

Cabalistical heads, who from that expression in Esay (Isaiah 34:4) do make a book of heaven, and read therein the great concernments of earth, do literally play on this, and from its semicircular figure, resembling the Hebrew letter כ Caph, whereby is signified the uncomfortable number of twenty, at which years Joseph was sold, which Jacob lived under Laban, and at which men were to go to war: do note a propriety in its signification; as thereby declaring the dismal Time of the Deluge. [5]  

There’s also evidence in Pseudodoxia Epidemica that Browne was familiar with one of the earliest and most influential of all kabbalistic texts, the legendary Book of Splendour. Also known as the Zohar (Hebrew: זֹהַר, lit. "Splendor" or "Radiance")  the foundational work in the literature of Jewish mystical thought it consists of commentary on aspects of the Torah (the five books of Moses) mythical cosmogony and mystical psychology. The Zohar also contains a discussion of the nature of God, the origin and structure of the universe, the nature of souls, redemption, the relationship of Ego to Darkness and "true self" to "The Light of God", and the relationship between the "universal energy" and man. [6]

Browne tantalizingly alludes to Moses de León (c. 1250 – 1305) known in Hebrew as Moshe ben Shem-Tov (משה בן שם-טוב די-ליאון),  the Spanish rabbi and Kabbalist considered to be the author of the Zohar in this remark-

'.....as M. Leo the Jew has excellently discoursed in his Genealogy of Love: defining beauty a formal grace, which delights and moves them to love which comprehend it. This grace say they, discoverable outwardly, is the resplendent and Ray of some interior and invisible beauty, and proceeds from the forms of compositions amiable.' [7] 

Although its recorded that as early as 1934 Joseph Blau wrote upon Browne’s interest in the Kabbalah, amazingly,  only in 1989 was it recognised that the leading scholar of Hebrew and the Kabbalah in 17th century Germany, Christian Knorr von Rosenroth (1636-89) has an interesting relationship to Browne.[8] The German scholar Von Rosenroth devoted many hours of his somewhat short life, completing what must have been a true labour of love, translating in total over 200,000 words of Browne’s colossal encyclopaedia Pseudodoxia Epidemica into German, completing his task in 1680 for publication in Frankfurt and Leipzig. Whether Browne was informed of this translation, late in his life isn't known, but it seems unlikely he wouldn't hear of it.

Browne’s esoteric inclinations are given full vent in his phantasmagorical discourse and supreme work of hermetic philosophy in English literature, The Garden of Cyrus (1658) in which the Kabbalah is alluded to several times.

The opening paragraph of chapter 3 of The Garden of Cyrus sees Browne move swiftly on from examples of the Quincunx pattern in gardening and art, to those in nature. In a paragraph of humorous and cosmic prose, he alludes to a French contemporary, the Hebrew scholar, astrologer and librarian to Cardinal Richelieu, Jaques Gafferel (1601-81). Browne was particularly interested in Gaffarel’s best-selling book, which had been translated into English as Unheard of Curiosities in 1650 in which the French kabbalist proposes an alternative to the Babylonian-Greek circle of animals or Zodiac.

Using the stars quite differently from the Babylonian-Greek circle of animals or Zodiac, Gaffarel describes how the letters of the Hebrew alphabet can be traced in the stars of the night-sky. Browne includes Gaffarel along with esoteric concepts of the 'music of the spheres' and the cosmic harmony of Pan's pipes as worthy of credulity thus-

Could we satisfy ourselves in the position of the lights above, or discover the wisdom of that order so invariably maintained in the fixed Stars of heaven; Could we have any light, why the stellary part of the first mass, separated into this order, that the Girdle of Orion should ever maintain its line, and the two Stars in Charles's Wain never leave pointing at the Pole-Star, we might abate the Pythagorical Music of the Spheres, the sevenfold Pipe of Pan; and the strange Cryptography of Gaffarell in his Starry Book of Heaven.

In his wide-ranging discourse of analogies and correspondences connecting the number five and quincunx pattern in art, nature and 'mystically considered’ Browne lets rip in rapid, near breathless enquiry, making note upon gardening, generation, germination, grafting, heredity, birth-marks, physiognomy, astrology, chess and skittles, archery and knuckle-stones, Egyptian hieroglyphs, architecture, optics, the camera obscura, acoustics and the healing power of music, among other topics of interest to the worthy 17th century Norwich physician.  

Given its free-ranging imaginative associations its almost predictable that the alphabet mysticism of the Kabbalah is included in this unique and idiosyncratic literary work. Browne speculates upon the properties of the letter He, the 5th letter in the Hebrew alphabet. His kabbalist enquiry includes one of the earliest recorded usages of the word ‘archetype’ in English.

The same number in the Hebrew mysteries and Cabalistical accounts was the character of Generation; declared by the letter He, the fifth in their Alphabet; According to that Cabalisticall Dogma: If Abram had not had this Letter added unto his Name he had remained fruitlesse, and without the power of generation: Not only because hereby the number of his Name attained two hundred forty eight, the number of the affirmative precepts, but because as increated natures there is a male and female, so in divine and intelligent productions, the mother of Life and Fountain of souls in Cabalistically Technology is called Binah; whose Seal and Character was He. So that being sterile before, he received the power of generation from that measure and mansion in the Archetype; and was made conformable unto Binah. [9] -

Its also in the 'mystically considered' chapter 5 of The Garden of Cyrus that Browne speculates upon the healing power of music upon the mind, using kabbalistic analogy thus-

Why the Cabalistical Doctors, who conceive the whole Sephiroth, or divine emanations to have guided the ten-stringed Harp of David, whereby he pacified the evil spirit of Saul, in strict numeration do begin with the Perihypate Meson, or si fa ut, and so place the Tiphereth answering C sol fa ut, upon the fifth string: [10]

Curiously the Sephirotic Tree of the kabbalah and the Quincunx pattern as illustrated in the frontispiece of The Garden of Cyrus have both been viewed as examples of 'stepped-down versions' of Indra's Net. In Hindu mythology the god Indra has a net which has a multifaceted jewel fixed at each knot, each jewel in turn reflects all the other jewels suspended in the net. The image of Indra's net is sometimes used to describe the interconnected relationship of the entire universe, not unlike either the Sephiroth tree of the kabbalah or Browne's intention in citing numerous examples of the Quincunx pattern in art, nature and mystically.

Browne however was not a solitary figure in his interest in the kabbalah in 17th century England. The Cambridge Platonists, in particular its leading members, Henry More (1614-87) the author of Conjectura Cabbalistica (1653), and Ralph Cudworth (1617-88) also had a keen interest in the mystical Jewish tradition of the kabbalah.

Well I hope today, on the anniversary of Sir Thomas Browne's birth and death (how Ouroboros-like is that) that this little essay convinces my reader of Browne's very real interest and understanding of the kabbalah. It is, however , because of his having interests in early modern science in tandem with topics such as the kabbalah, that Browne's place in European intellectual history remains ambiguous and paradoxical today ! 

Notes

[1] The 1711 Action Sales Catalogue was finally published in 1986 thanks to scholarship of the Yale University, American academic and Dean Emeritus of Yale University,  J.S. Finch (to whom I enjoyed a correspondence with until his death).

[2] The Occult Philosophy in the Elizabethan Age Frances Yates pub. RKP 1979

[3] De Harmonia Mundi  Venice 1525 1711 Sales Auction Catalogue page 2 no.33

[4] P.E. Bk 1 chapter 3

[5] P.E. Bk 1 chapter 4

[6] Wikipedia

[7] P.E. Book 6 chapter 11

[8] Alchemy of the Word: Cabala of the Renaissance Philip Beitchman pub. State University of New York Press, Albany 1989

[9] Genesis 27 verse 15 discusses the adding of H to Abram's name.
 Text here in chapter 5 includes a reference by Browne to - Archang. Dog. Cabal. Archangelus Burgonovus  (The apology of brother Archangulus of Burgonovo in defense of cabalistic doctrines against Rev. Peter Garzia’s attack on Mirandula from Hebrew wisdom, source of the Christian religion). Basel 1560, Bologna 1564. Also mentioned in Pistorius’s Artis cabalisticae scriptores Basel 1587

[10] 1 Samuel 17 verse 40

With thanks to Karmel Lee for her encouragement.

A Cryptogram deciphered

The opening sentence of Thomas Browne's Urn-Burial challenges the reader to look beyond mere surface appearances towards the unseen and hidden.

In the deep discovery of the subterranean world, a shallow part would satisfy some enquirers.

An ardent enquirer questing for fresh insight into Browne's esoteric creativity would do well to cast their eye upon the curious word which heads Browne's discourse - HYDRIOTAPHIA and ponder awhile.The six syllable word has a touch of theatricality about it, its sonority arrests the ear as if a magician's abracadabra or medical mantra. Although its a word which is commonly assumed to be an alternative title to Urn-Burial in fact it defies any dictionary definition, being an invented word; nor is there any suggestion by the author that it is an alternative title, it is not followed by the word 'or' as with Browne's various alternative titles to his  1658 diptych Discourses and its often printed with a differing letter size and/or font  in most modern publications as in the original frontispiece.

It's just possible that the word HYDRIOTAPHIA is an anagram. Browne's era was one in which all manner of word-play flourished, including the devising of anagrams. Such word-play occurred not only among literate academic circles, but also in the spheres of  military and political communication.  During the English civil war coded writing, as in the form of a cryptogram, was of extreme importance in maintaining military security when defeat or victory could be decided by the deciphering of the enemy's communications. However the construction of secret codes was not exclusive to the military, Anne Geneva noted of the wide-spread engagement in word-play throughout the sixteenth and seventeenth centuries.  

'the seventeenth century was able to draw upon a long tradition of cryptography, dozens of ciphers surviving from the sixteenth century alone, although Sir T.B. was the first to use the word in English'.[1]

Browne was one of many learned and leisured gentlemen throughout seventeenth century Europe  who took an interest in secret codes, ciphers and anagrams. Of greater import Anne Geneva also recognised crucially that-  'Alchemy in particular seems to have thrived upon anagrams.'

With his penchant for the secretive, along with his deep-rooted interest in the esoteric, Sir Thomas Browne is a prime candidate for having anagrammatic inclinations; he not only possessed almost every major esoteric author associated with coded writing, including those by the Abbot Trithemius, the Italian polymath Della Porta and the Frenchman Blaise de Vignere [1] but also knew that both  the Polish alchemist Michel Sendivogius [2] and the Oxford antiquarian Elias Ashmole had published alchemical literature under anagrammatic pseudonyms.[3]

In many ways Browne is the archetypal alchemist, he possessed an 'elaboratory' where he conducted numerous experiments, many of which are recorded in his encyclopaedia, including an experiment in which he suspended a magnetic pendulum above a circular table with an alphabet marked out around its circumference. He also experimented with various acids including Vitriol and was doubtlessly familiar with the near commonplace advisory derived from the initial letters of the word V.I.T.R.I.O.L. -  Visita Interiorem Terrae Rectificandoque Invenies Occultum Lapidem  which  can loosely be translated as advice to -

Visit the interior of the earth and rectifying, you will find the hidden stone.

an aphorism which bears close comparison to the opening sentence of Urn-Burial.

By rising to the challenge of the cryptic and acknowledging that the hidden world beyond appearances was a vital preoccupation of Hermetic philosophers such as Browne, essential clues can   be acquired assisting deciphering the cryptogram HYDRIOTAPHIA; when deciphered it not only highlights fundamental themes of the diptych discourses, namely death and birth, but also reveals a rare utterance from Browne's alter-ego persona.

If one heeds the literary critic Peter Green's observation that,  'Sir Thomas is his own most fascinating subject of study, and knows it’ one may with confidence extract the letter I , the most frequently used word in the English language, to begin constructing a full sentence. Having identified our subject we next need an active word such as a verb or adverb.

The opening dedicatory address in Urn-Burial to his patron, the Norfolk landowner Thomas le Gros, provides further clues to deciphering the second word of the anagram. Remembering that it was the discovery and unearthing of several burial urns at Walsingham, North Norfolk, which was the inspiration for the composition of the Discourse, the critic Joan Bennett described the physician's excitement at this 'hit of fate' and archaeological discovery which fired his imagination, scholarship and creativity thus -

'he must have rejoiced when, ten years after he had completed his magnum opus, the discovery of the Urns at Old Walsingham offered him a subject so appropriate to his interest and gifts'.[4]

Browne describes the archaeological find as a 'hit of fate' and considered the unearthing of  the Saxon-era  urns to be opportune, prompting him to contemplate time and antiquity. The initial spark of an archaeological discovery kindled Browne's imagination and  fired-up the full force of his literary creativity  to write upon the themes of  time, mortality and eternity.

Consulting Browne's contemporary, the seventeenth century lexicographer and dictionary-compiler Henry Blount's Glossographia  assists ones enquiry further. Blount includes the words 'seasonable', 'opportune',  'appropriate'  'timely' and 'tidy'  to describe a singular, lucky or unlucky event . Indeed, a miniature Dictionary published circa 1900 in the author's possession has under the entry Tidy, the definitions seasonable, clever, neat, spruce. Although the English language has altered considerably in three and a half centuries, the word 'tidy' retains its original  'hit of fate' meaning as in the phrase, 'a tidy sum of money'. Placing our ‘hit of fate', adverb as descriptive of Browne's own  'hit of  fate' we now have an opening sentence of  ' I tidy.........'

The remaining letters in the word Hydriotaphia  form a word utterly pertinent and central to the 'twin' Discourse's themes of death and rebirth -  PHARAOH .

In Urn-Burial Browne condemns all monuments to the dead as vain-glory including those built by the Egyptian Pharaoh's. The Pyramid is however one of the primary 'conjoining' symbols of the Discourses, for in The Garden of Cyrus the Pyramid is alluded to on several occasions as an example of the eternal, Platonic shapes and evidence of intelligent design in art and nature. The Garden of Cyrus also attempts to define several archetypes,  'the wise ruler' notably in its titular hero but also Augustus, Alexander the Great, Moses and many others are cited as examples of this archetype, including the earliest 'wise ruler'  of all, the Pharaohs of ancient Egypt, who despite their folly of building  pyramid mausoleums for themselves were also 'thrice-great' rulers of Egyptian society, holding the combined office of  High Priest, Military leader and Law-giver.  

The significance of the hidden sentence within the word Hydriotaphia in context of the welter of esoteric literature published during the Protectorate of Cromwell cannot be ignored. Browne was a devoted Bibliophile who kept well-abreast of the latest in book publications. He was both a modest and self -effacing  physician who knew himself to also be a colossus of knowledge of European stature with the fame of his Pseudodoxia Epidemica. Observing the plethora of esoteric literature published in  the decade of the Protectorate, Browne may well in his intellectual pride believed himself  to be the opportune or  'tidy' Pharaoh of all  those who purported to be privy to Hermetic wisdom.

The hidden anagram sentence - 'I, tidy Pharaoh' - may have been inspired by Browne's knowledge that the antiquarian Elias Ashmole  had published his Norwich acquaintance Arthur Dee's alchemical collection Fasiculus Chemicus in 1650 under the anagram pseudonym of James Hassole (by subsitution of the letter J which is non-existent in Latin for I). The frontispiece of Fasiculus Chemicus  announced that Ashmole elected himself as 'the English Mercurius' and perhaps either as a gentle, playful rejoinder to Ashmole, or in a rare outburst of alter-ego, Browne proclaimed his own status in the Hermetic art under cover of an anagrammatic retort.

But perhaps in the final analysis it's the relationship between those who invent anagrams  to their subject which is the most revealing to study. The ingenuity of devising phrases to describe someone from an exterior arrangement of alphabet letters.There certainly are some remarkable examples of anagrams made from famous names and Wikipedia offers  an  interesting history of the anagram and many amusing examples.

Browne himself was made the subject of an anagram, 'made and sent to me by my ever honoured friend Sir Philip Wodehouse'. Sir Philip Wodehouse ingeniously extracted from the latin of the name Doctor Thomas Brouenis the phrase, Ter Cordatus bonus homo which roughly translates as -  'the three-fold great man'.

Wodehouse's anagram is a brilliant allusion to alchemy's  'thrice-greatest' founding sage, Hermes Trismegistus, connecting the Norwich physician to Hermetic philosophy as well as illustrating the high esteem  in which his contemporaries held him.

Of course, we'll never know absolutely for sure whether or not Browne coined the word Hydriotaphia as an anagram. Unless of course new evidence should surface. Nevertheless  it's possible to extract a three word sentence from this curious word which  makes allusion to a favourite study of Browne's, namely ancient Egypt and to fundamental themes of the discourses namely death and birth. It is also a bold statement made with characteristic humour of an alter-ego alias .

HYDRIOTAPHIA  or  I TIDY PHARAOH

Although this proposed deciphering of an anagram can never be fully proven, one is none the less reminded of Browne's observation-

'The Hand of Providence writes often by Abbreviatures, Hieroglyphics or short Characters, which...are not to be made out but by a Hint or Key from that Spirit which indited them'. [6]

Notes
[1] Anne Geneva - Astrology and the seventeenth century mind  Manchester University Press 1995
[2]  Examples of coded writing author's in Browne's library include Trithemius Polygraphia S.C. p.30  no. 17 and Blaise de Vigenere Tract du Feu & du Sal  S.C. page 32 no.22
[3] 'Another kind of verticity, is that which Angelus doce mihi jua. alias Michael Sundevogius, in a Tract De Sulphure, discovereth in Vegetables...' Browne in Bk 2 chapter 3 of P.E.
[4]  When Elias Ashmole published the alchemical writings of Browne's Norwich acquaintance, Arthur Dee, son of the elizabethan magus John Dee, he wrote under the anagrammatic pseudonym of James Hasholle (by substition of the inter-changability of the  letters I/J )
[5] Joan Bennett   Sir Thomas Browne    Cambridge University Press    1962
[6] Christian Morals Part  I  Section 25

The Layer Quaternity

Almost hidden from view in the church of Saint John Maddermarket Norwich there's a highly theatrical and dramatic Monument - the Layer monument, a large slab of sculptured marble in polychrome is an early seventeenth century funerary momento mori. The symbolism of its fascinating, yet enigmatic quartet of statuettes  is  complex, but well worth analysis.

The strictly literal-mindedness of our age, combined with the Layer monument's relative obscurity has prevented  it from being identified as an art-work which  utilizes esoteric symbolism. The narrow belief that the Word, in this case the moral label which accompanies each statuette, is a fully-developed definition has effectively blinded viewers from actually looking closely at each statuette.

Each of the four statuettes of the Layer Monument corresponds to a specific archetypal figure. They are Pax 'the wise ruler' here depicted treading the weapons of war underfoot, Gloria,  'the Great Mother', frequently associated with lunar imagery, Labor, 'the old man' complete with grey hair and beard, and Vanitas, 'the child/trickster' figure, not only a cherub and psychopomp of the  recently deceased but also the messenger of alchemy, Mercurius,  who is often depicted standing upon a Rotundum in alchemical illustrations. 

The psychologist C.G. Jung who wrote at great length and depth upon alchemy and its symbols noted,

'the statue plays a mysterious role in ancient alchemy'. (CW14:559)  and that, 'The statue stands for the inert materiality of Adam, who still needs an animating soul; it is thus a symbol for one of the main preoccupations of alchemy . (CW 14 Para 569)

One is encouraged in interpreting the Layer Quaternio as a work which utilizes esoteric symbolism when reading C.G.Jung's observation-

Graybeard and boy belong together. The pair of them play a considerable role in alchemy as symbols of Mercurius. (CW 9 i:39)

Number, along with colour, is embedded deep in the human psyche as  primordial of  all symbols. The number four and its geometric arrangement in the form of four corners or points upon the figure X  was of especial significance to C.G.Jung . He  defined the  quaternio thus-

The quaternity is an organizing schema par excellence, something like the crossed threads in a telescope. It is a system of coordinates that is used almost instinctively for diving up the visible surface of the earth, the course of the year, or the collection of individuals into groups, the phases of the moon, the temperaments, elements, alchemical colours, and so on.  (CW 9ii. 381)

As if with the Layer Monument in view, Jung states of the quaternio -

We have then, two contrasting pairs, forming by mutual attraction a quaternio, the fourfold basis of wholeness. As the symbolism show, the pairs signify the same thing: a complexio oppositorum or uniting symbol  (CW Vol 9i: 245)

Reinforcing the Layer Monument's significance as an example of a complexio oppositorum that is, a complex of opposites, Jung once more as if  having the Layer monument quaternio in view remarks- 

 Like all archetypes, the self has a paradoxical, antinomial character. It is male and female, old man and child, powerful and helpless, large and small. The self is a true complexio oppositorum. (CW  9 i: 355)

Polarity and the union of opposites along  with its resultant synergy was an essential  tool of alchemical symbolism. There are numerous opposites within the Later Quaternio - Young/Old -Heaven/Earth -Male/Female, Time/Space and Pleasure/Suffering are discernable.

Just as the upper pair of Pax and Gloria  represent the eternal 'heavenly' realms, so to in contradistinction the figures of Labor and Vanitas represent the temporal dimension of time in earthly existence, thus  the essential co-ordinates of Time and Space may be attributed to the Quaternio. Jung explains this essential component  of the quaternity thus-

From the lapis, i.e. from alchemy, the line leads direct to the quaternio of alchemical states of aggregation, which, as we have seen, is ultimately based upon the space-time quaternio. The latter comes into the category of archetypal quaternities and proves to be an indispensable  principle  for organizing the sense-impressions from which the psyche receives from bodies in motion. Space and time form a psychological  a priori, an aspect of the archetypal quaternity which is altogether indispensable for acquiring knowledge of physical processes.  (CW Vol 9 ii: 40)

It can also be  discerned  that together the four statuettes of the Layer Monument  correspond to  a commonplace  template of antiquity, the four elements.  The crescent moon which Gloria stands upon is often associated with the element of Water.  Pax, a Christ-like figure who closely corresponds to Sol Invinctus  represents the element of Fire. It follows from the  activities which the lower case pair  Vanitas and Labor are engaged upon, namely blowing bubbles and digging earth,  that they symbolize the two elements of Air and Earth.

In essence  the four statuettes upon the two pilasters of the Layer Monument  represent  a highly original,  profound and intriguing religious symbol. They are none other than a quaternio or four-fold whole of archetypes which represents the Self. Plexiformed in their  relationship and ostensibly a product  of Christian  iconography, the Layer quaternio are in fact a syncretic fusion of both Christian and  esoteric symbolism, a rare and important  example of how  the  symbolism of Hermetic philosophy occasionally infiltrated and integrated with  Christian iconography.

An essay upon the symbolism of   the Layer Monument and the intellectual history of its era can be found here.

Postscript 23rd Oct: The lavish production  of Ken Follett's 'The Pillars of the Earth' set in Medieval England  now on Channel 4, states for  the synopsis of episode 2  - 'Jack's statue of the cathedral's saint has a shocking effect on the King'. One couldn't make up the timing if one tried!