By C. G. Jung
Jung's final significant paintings, accomplished in his 81st yr, at the synthesis of the opposites in alchemy and psychology.
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Additional resources for Mysterium Coniunctionis (The Collected Works of C. G. Jung, Volume 14)
The unknown author of the “Consilium” 52 156 was not conscious of the close connection of his psychologem with the process of transubstantiation, although the last sentence of the text contains clearly enough the motif of teoqualo, the “god-eating” of the Aztecs. 157 This motif is also found in ancient Egypt. ” 158 It should be noted how alchemy put in the place of the Christian sponsus and sponsa an image of totality that on the one hand was material, and on the other was spiritual and corresponded to the Paraclete.
As such she personifies that arcane substance, be it dew 83 or the aqua permanens 84 which unites the hostile elements into one. ” 85 The cognomen of Isis was , the Black One. 86 Apuleius stresses the blackness of her robe (palla nigerrima, ‘robe of deepest black’), 87 and since ancient times she was reputed to possess the elixir of life 88 as well as being adept in sundry magical arts. 89 She was also called the Old One, 90 and she was rated a pupil of Hermes, 91 or even his daughter. ” 93 She is mentioned in the role of a whore in Epiphanius, where she is said to have prostituted herself in Tyre.
Gregory 108 the analogy is the story of the widow’s cruse of oil (II Kings 4). St. ” 109 She “lacketh a husband, lacketh a man,” for her bridegroom has not yet come. ” “But,” Augustine continues, “thou art not an orphan, thou art not reckoned as a widow . . Thou hast a friend . . ” 110  Another tradition to be considered in regard to the widow is the Cabala. There the abandoned Malchuth is the widow, as Knorr von Rosenroth says: “[Almanah] Widow. ” 111 Tifereth 112 is the son 113 and is interpreted by Reuchlin as the Microcosm.