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.
