In 1955, Jung’s Systema Munditotius was published anonymously in a special issue of Du dedicated to the Eranos conferences. In a letter of February II, 1955, to Walter Corti, Jung explicitly stated that he did not want his name to appear with it.
He added the following comments to it:
“It portrays the antinomies of the microcosm within the macrocosmic world and its antinomies.
At the very top, the ﬁgure of the young boy in the winged egg, called Erikapaios or Phanes and thus reminiscent as a spiritual ﬁgure of the Orphic Gods. His dark antithesis in the depths is here designated as Abraxas.
He represents the dominus mundi, the lord of the physical world, and is a world-creator of an ambivalent nature.
Sprouting from him we see the tree of life, labeled vita (’life’) while its upper counterpart is a light-tree in the form of a seven-branched candelabra labeled ignis (’ﬁre’) and Eros (,love’).
Its light points to the spiritual world of the divine child.
Art and science also belong to this spiritual realm, the ﬁrst represented as a winged serpent and the second as a winged mouse (as hole-digging activity!).
The candelabra is based on the principle of the spiritual number three (twice-three ﬂames with one large ﬂame in the middle), while the lower world of Abraxas is characterized by ﬁve, the number of natural man (the twice-ﬁve rays of his star).
The accompanying animals of the natural world are a devilish monster and a larva.
This signiﬁes death and rebirth. A further division of the mandala is horizontal. To the left we see a circle indicating the body or the blood, and from it rears the serpent, which winds itself around the phallus, as the generative principle.
The serpent is dark and light, signifying the dark realm of the earth, the moon, and the void (therefore called Satanas).
The light realm of rich fullness lies to the right, where from the bright circle [cold, or the love of God] the dove of the Holy Ghost takes wing, and wisdom (Sophia) pours from a double beaker to left and right.
This feminine sphere is that of heaven. The large sphere characterized by zigzag lines or rays represents an in- ner sun; within this sphere the macrocosm is repeated, but with the upper and lower regions reversed as in a mirror.
These repetitions should be conceived of as endless in number, growing even smaller until the innermost core, the actual microcosm, is reached” Copyright © The Foundation of the works of C. G. Jung reproduced with the permission of the Foundation and Robert Hinshaw