Table of Illustrations

Figure 1. Grail Castle, England, 1879 a.d. Gustave Doré. From Alfred, Lord Tennyson, The story of Elaine, the lily maid of Astolat : from the Arthurian legends.

Figure 2. The Pietrosa Bowl, Romania, 3rd century b.c. After Alexander Odobesco, Le Tresor de Petrossa (Leipzig: Karl W. Hiersemann, 1889- 1896), Vol. II, Fig. 39.

Figure 3. Orpheus the Savior; ceiling, Domitilla Catacomb, Rome, 3rd century a.d. From Ludwig von Sybel, Christliche Antike (Marburg: N. G. Elwert, 1906–1909), Vol. I, p. 155.

Figure 4. Tristan Harping for King Mark; Chertsey Abbey tiles, c. 1270. From the book The Romance of Tristram and Ysolt, by Thomas of Britain. Translated from the Old French and Old Norse by Roger Sherman Loomis. Copyright 1923 by E. P. Dutton & Co., Inc. Copyright 1931, 1951 by Columbia University Press. Dutton Paperback Edition (1967). Reproduced by permission of E. P. Dutton & Co., Inc.

Figure 5. Orphic Sacramental Bowl; Rumania, 3rd or 4th century a.d. After Alexander Odobesco, Le Trésor de Pétrossa (Leipzig: Karl W. Hiersemann, 1889–1896), Vol. II, Fig. 39.

Figure 6. The Goddess of the Cup; central figure in Orphic Bowl. Ibid. Vol. II, Figs. 40 and 41.

Figure 7. The Warden of the Fish; Babylonian cylinder seal, 2nd millennium b.c. From Revue d’Assyriologie et d’archeologie orientale, Vol. xxii (Paris: 1905), p. 57.

Figure 8. Christian Neophyte in Fish Garb; early Christian ceramic lamp. After Raffaele Garrucci, Storia dell’arte Cristiana (Prato: G. Guasti, 1872–81), Vol. VI, Pl. 474.

Figure 9. Fish Gods Fertilizing Tree of Life; Assyrian seal, c. 700 b.c. From William Hayes Ward, The Seal Cylinders of Western Asia (Washington, D.C.: The Carnegie Institution of Washington, 1910), p. 226, No. 687.

Figure 10. God the Father, Fishing for the Devil; miniature, Alsace, c. 1180. From the book Hortulus deliciarum of the Abbess Herrad von Landsberg (edited by A. Straub-Keller, Strassburg: Trübner, 1879–99), Pl. 24.

Figure 11. Orpheos Bakkikos Crucified; cylinder seal, Berlin Museum, c. 300 a.d. From Robert Eisler, Orpheus the Fisher: Comparative Studies in Orphic and Early Christian Cult Symbolism (London: J. M. Watkins, 1921), Pl. XXXI.

Figure 12. "Where it is thickest." From Willy Pogany, Parsifal (New York: Thomas Y. Crowell & Company, 1912), p. 7.

Figure 13. Gottfried of Strassburg (ink on velum, Germany, c. 1304) After the Codex Manesse, f. 364r.

Figure 14. Notre Dame de Chartres Cathedral (granite, France, twelfth century). Photograph by Sameer G (commons.wikimedia.org). Used through a Creative Commons license.

Figure 15. Abelard & Heloise (ink on vellum, c. 1370). After Le Roman de la Rose, le testament, f. 60v.

Figure 16. T.S. Eliot (photograph, England, 1934). Photograph by Lady Ottoline Morrell (1873–1938).

Figure 17. Dido and Aeneas; 10th century manuscript illumination, Naples, Biblioteca Nazionale, Cod. olim Vienna 58, fol. 55, v. After Erwin Panofsky, Studies in Iconology (New York: Oxford University Press, 1939; Harper Torchbook edition, New York and Evanston: Harper and Row, 1962), Pl. V, Fig. 12.

Figure 18. Sanctum of the Winged Serpent; Orphic bowl, 2nd or 3rd century a.d. After Hans Leisegang, “Das Mysterium der Schlange: Ein Beitrag zur Erforschung des griechischen Mysterienkultes und seines Fortlebens in der christlichen Welt,” in Eranos Jahrbuch 1939 (Zurich: Rhein-Verlag, 1940), Pl. 3.

Figure 19. Outside of Bowl of Fig. 11. After Leisegang, op. cit., Pl. 1.

Figure 20. The Music of the Spheres; Italy, 1496. From Franchinus Gafurius (Franchino Gaffurio), Practica musice (Milan: 1496), as reproduced in Edgar Wind, Pagan Mysteries in the Renaissance (New Haven: Yale University Press, 1958), p. 47.

Figure 21. Sutton Hoo ship-burial — grave chamber marked in white (artist's representation, England, seventh century a.d.). After a photograph by Steven J. Plunkett (commons.wikimedia.org). Used through a Creative Commons license.

Figure 22. The opening verses of Beowulf (ink on vellum, England, late tenth century a.d.. Julius Zupitza, Beowulf: Autotypes of the Unique Cotton MS Vitellius A.xv. in the British Museum with a Transliteration and Notes. E.E.T.S. O.S. 77. London: Trubner & Co., 1882, .

Figure 23. The Queller of Beasts; England, 650–670 a.d. Detail of a decorated purse-lid, among the objects found in the Sutton Hoo ship burial. After The Sutton Hoo Ship-Burial: A Provisional Guide (London: The British Museum, 5th impression, 1956), Pl. 18.

Figure 24. The Queller of Beasts; Crete, c. 1600 b.c. Figure on a lentoid gem. From Arthur J. Evans, “Mycenaean Tree and Pillar Cult,” in The Journal of Hellenic Studies, Vol. xxi (1901), p. 163, Fig. 43.

Figure 25. Ink Rubbing from a Chinese Bronze; Middle Shang Period, 1384–1111 b.c. After Li Chi, The Beginnings of Chinese Civilization (Seattle: University of Washington Press, 1957), Pl. I, Fig. 1.

Figure 26. Dragon Treasure; China, Sung Period, 12th century a.d. Detail from Scroll of the Nine Dragons, by Ch’en Jung, active 1234c. 1260 a.d.; ink on paper; Museum of Fine Arts, Boston. From a sketch by Al Burkhardt.

Figure 27. Gaulish God with Boar; Euffigneix (Haute-Mame). Probably 1st century b.c. (height 10¼ʺ, breadth 3¼ʺ, depth 2⅜ʺ) , of native stone; Museum of St. Germain-en-Laye. After photos reproduced in T. G. E. Powell, The Celts (New York: Frederick A. Praeger, 1958), Pl. 67; and in Marcel Pobé and Jean Roubier, The Art of Roman Gaul (Toronto: The University of Toronto Press, 1961), Pl. 6.

Figure 28. The “Eye Goddess”; three examples, c. 2500 b.c. a) in bone, from Spain; b) in clay, from Syria; c) on a cylinder seal, Sumer. Respectively, from Georg and Vera Leisner, Die Megalithgräber der Iberischen Halbinsel (Berlin: W. de Gruyter, 1943), Pl. 92, No. 13; M. E. L. Mallowan, “Excavations at Brak and Chagar Bazar,” in Iraq, Vol. ix, Pl. 51; and H. Frankfort, Stratified Cylinder Seals from the Diyala Region (Chicago: Chicago University Press, 1955), Pl. 78; as reproduced in O. G. S. Crawford,The Eye Goddess (New York: The Macmillan Company, no date), Figs. 19c, 2, and Pl. 4.

Figure 29. Sacred Boar; bronze, Hounslow (near London), probably 1st century b.c. (length, 2⅞ʺ; height at shoulder l½ʺ); now in British Museum. From Proceedings of the Society of Antiquaries of London, 2nd ser., Vol. iii, Report of March 23, 1865, p. 91.

Figure 30. Squatting God (Cemunnos) and Boar; Gaulish Coin, probably 1st century b.c. After Henri de La Tour, Atlas des monnaies gauloises (Paris: Librairie Plon, 1892), Pl. XXXII, No. 8145.

Figure 31. Map: Extent of Islamic Rule and Influence, 10th century a.d. From J. H. Kramers’ article on “Geography and Commerce,” in Sir Thomas Arnold and Alfred Guillaume (eds.), The Legacy of Islam (Oxford: The Clarendon Press, 1931), p. 78.

Figure 32. The Serpent Lifted Up; golden thaler, Germany, 16th century. Thaler struck by the goldsmith Hieronymus Magdeburger of Annaberg. After a photograph from the Ciba Archives, Basel, reproduced in C. G. Jung, Symbols of Transformation, Bollingen ser. XX (New York: Pantheon Books, 1956), Pl. IX b.

Figure 33. Eucharistic Bowl; Mt. Athos, 13th century a.d. After Leisegang, op. cit., Pl. 14.

Figure 34. Approaching the Grail Castle. Pogany, op. cit., p. 32.

Figure 35. Blanchefleur. From Howard Pyle, The Story of the Champions of the Round Table, Charles Scribner's Sons, 1905, p. 302.

Figure 36. Isolt Taught by Tristan to Harp; Chertsey Abbey tiles, c. 1270. From Loomis, op. cit., p. 85.

Figure 37. Bronze Solar Horse and Car; Denmark, c. 1000 b.c. After Sophus Müller, Oldtidens Kunst i Danmark, Vol. II. Bronzealderens Kunst (Copenhagen: 1921), p. 17.

Figure 38. Sun Steed and Eagle; Gallic coins, early Gallo-Roman period. After La Tour, op. cit., PI. XXII, No. 6578 and Pl. XXVII, No. J 67.

Figure 39. Pablo Picasso: Guernica; 1937 (Museum of Modem Art, New York, N.Y.). From a sketch by Al Burkhardt.

Figure 40. Morold Wounds Tristan; Chertsey Abbey tiles, c. 1270. From Loomis, op. cit., p. 73.

Figure 41. Tristan Slays Morold; Chertsey Abbey tiles, c. 1270. From Loomis, op. cit., p. 74.

Figure 42. Tristan Afloat to Ireland; Chertsey Abbey tiles, c. 1270. From Loomis, op. cit., p. 82.

Figure 43. Dionysus in the Ship; Greek black-figured kylix, 6th century b.c. Munich Museum. After photographs reproduced in C. Kerényi, The Gods of the Greeks (London and New York: Thames and Hudson, 1951), PI. XV, and ibid., The Religion of the Greeks and Romans (E. P. Dutton & Co., Inc., 1962), Pl. 66.

Figure 44. Tristan and the Dragon. Weinhausen tapestry, c. 1300. After Archiv für Niedersachsens Kunstgeschichte : eine Darstellung mittelalterlicher Kunstwerke in Niedersachsen und nächster Umgebung. Hannover: Hellwing, 1849-62. 

Figure 45. Isolt attacks Tristan in the bathtub. From Roman du Bon Chevalier Tristan, Fils au Bon Roy Meliadus de Leonois, c. 1320–1340. Digital image used with permission of the Getty Museum's Open Content Program.

Figure 46. Tristan Hands the Goblet to Isolt; Chertsey Abbey tiles, c. 1270. From Loomis, op. cit., p. 131.

Figure 47. Paolo and Francesca. From Dante Alighieri, Inferno, translated by Henry Francis Cary, illustrated by Gustave Doré. New York: Pollard and Moss, 1887, p. 86.

Figure 48. Oystercatcher Responding to a “Supernormal Stimulus.” After N. Tinbergen, The Study of Instinct (Oxford: The Clarendon Press, 1951), Fig. 43.

Figure 49. Mark spying on Tristan and Isolt. From Alan of Lille, Miscellany of didactic and religious texts, Alan of Lille's Summa predicatoria (ff. 10-73); 21 sermons (ff. 74-106v); a digest of Isidore's Sententiarum liber (ff. 107-134v); various texts on the seven deadly sins (ff. 159v-186v); Aesop's Fables in quatrains, based on the Romulus (ff. 189-210), late thirteenth–early fourteenth century, f. 8. Digital image courtesy of the British Library

Figure 50. Tristan and Isolt sleeping with sword between. After Gottfried von Strassburg, Tristan.

Figure 51. The Voyage of Isolt to Tristan; Chertsey Abbey tiles, c. 1270. From Loomis, op. cit., p. 283.

Figure 52. James Joyce. Photo by C. Ruf, Zurich, ca. 1918.

Figure 53. Solar King and Lunar Queen; Rosarium philosophorum, 16th century. From Rosarium philosophorum. Secunda pars alchimiae de lapide philosophic vero modo praeparando … cum figuris rei perfectionem ostendentibus (Frankfurt a. M.: 1550), as reproduced in C. G. Jung, The Practice of Psychotherapy, Bollingen ser. XX (New York: Pantheon Books, 1954), p. 213.

Figure 54. Alchemists and their Furnace; Mutus Liber, 17th century. From the Mutus liber in quo tamen tota philosophia hermetica, figuris hieroglyphicis depingitur … (La Rochelle: 1677), as reproduced in C. G. Jung, Psychology and Alchemy, Bollingen ser. XX (New York: Pantheon Books, 1953), p. 3.

Figure 55. Homunculus in the Alchemical Vas; Cabala mineralis. After an illustration in the Cabala mineralis (British Museum MS. Additional 5245, a work by Rabbi Simeon ben Cantars, showing alchemical figures in water colors with explanations in Latin and English), as reproduced by Jung, Psychology and Alchemy, p. 227.

Figure 56. The Mercurial Bath; Rosarium philosophorum, 16th century. From Jung, The Practice of Psychotherapy, p. 243.

Figure 57. The Maternal Sea; Rosarium philosophorum, 16th century. From Jung, The Practice of Psychotherapy, p. 249.

Figure 58. The Mercurial Rain; Rosarium philosophorum, 16th century. From Jung, The Practice of Psychotherapy, p. 275.

Figure 59. Thomas Mann. Deutches Bundesarchiv, Bild 183-H28795. Used through a Creative Commons license.

Figure 60. The Monogram of Thomas Mann. As inscribed on the front covers of all volumes of the author’s Gesammelte Werke (Berlin: S. Fischer Verlag, 1922–36).

Figure 61. Amfortas: the wounded king. Pogany, op. cit., p. 37.

Figure 62. The Grail appears to Arthur and his knights at the Round Table. After Lancelot-Graal, Biblioteque Nationale de France, f. 114.

Figure 63. Bishop Josephe Confers the Grail on King Alain; c. 1300. From MS. Bibliotheque Nationale, fr. 344, fol. 122. After a photograph reproduced in Roger Sherman Loomis, The Grail: from Celtic Myth to Christian Symbol (New York: Columbia University Press; Cardiff: University of Wales Press, 1963), Pl. 2.

Figure 64. The Gundestrupp Bowl; Jutland, middle of first century a.d. A silver bowl (rim diameter, 27¼ʺ, height, 16ʺ) found, 1891, in a bog. From an engraving in Alexandre Bertrand, La Religion des Gaulois, les druides et le druidisme (Paris: Leroux, 1897), Fig. 57.

Figure 65. The God Cernunnos; Gundestrupp Bowl detail. Ibid., Pl. XXX.

Figure 66. The God of the Wheel; France, Gallo-Roman period. Bronze found at Chatelet (Haute-Marne). Ibid., p. 242, Fig. 36.

Figure 67. The God Sucellos; France, Gallo-Roman period. Bronze found at Vienne (Isère). Ibid., p. 318, Fig. 44.

Figure 68. Ixion; Etruscan bronze mirror, 4th century b.c. After A. B. Cook, Zeus (Cambridge: Cambridge University Press, 1914), Vol. I, Pl. XVII. British Museum.

Figure 69. Wolfram von Eschenbach. After an illumination in the so-called Heidelberg, or Manesse, MS., c. 1335. Reproduced in Anton Heuberger, Wolfram von Eschenbach und seine Stadt (Wolframs-Eschenbach: Selbstverlag der Stadt, 1961), facing p. 271.

Figure 70. Gahmuret. Pogany, op. cit., p. 14.

Figure 71. Parzival spies three knights. Pogany, op. cit., p. 22.

Figure 72. Parzival and Herzeloyde. Pogany, op. cit., p. 23.

Figure 73. Parzival rides forth. Pogany, op. cit., p. 26.

Figure 74. Gurnemanz and his daughter. Pogany, op. cit., p. 43.

Figure 75. Condwiramurs. Pogany, op. cit., p. 51.

Figure 76. The Fisher King. Wolfram von Eschenbach, The Story of Parzival the Templar, translated by Mary Blackwell Sterling, illustrated by William Earnest Chapman (New York: E.P. Dutton & Co., 1911), p. 123.

Figure 77. Don't ask too many questions. Pogany, op. cit., p. 44.

Figure 78. Leaving the Castle. Pogany, op. cit., p. 49.

Figure 79. Parzival staring at the drops of blood in the snow. Pyle, op. cit., p. 316.

Figure 80. Cundrie. Pogany, op. cit., p. 50.

Figure 81. Dionysian Scene; detail of a Greek vase painting, mid-5th century b.c. From Tomb 313 in the Valle Trebba, Spina. Archaeological Museum, Ferrara. After a photograph reproduced in Kerényi, The Religion of the Greeks and Romans, Pl. 62.

Figure 82. The Fisher among Bacchic Satyrs; red-figured cup, 6th to 5th centuries b.c. After Paul Hartwig, Die griechische Meisterschalen der Bliitezeit des strengen rothfigurigen Stils (Stuttgart: Spemann, 1893), Pl. V.

Figure 83. Parzival and Trevizant. Pyle, The Story of the Grail and the Passing of King Arthur (New York: Charles Scribner's Sons, 1911), p. 88.

Figure 84. Gawain and Orgeluse. Pyle, The Story of King Arthur and His Knights (New York: Charles Scribner's Sons, 1915), p. 304.

Figure 85. The Ages of the World, according to Joachim of Floris; c. 1200. From Leone Tondelli, II libro delle figure dell’abate Giachino da Fiore (Torino: Societa editrice internationale, 1953), Pl. XI a, detail.

Figure 86. The Perilous Bed, c. 1330–1350. Detail from an ivory casket with scenes of romances at the Walters Museum, Baltimore (71.264). Image used through a Creative Commons license.

Figure 87. The Peacock’s Tail (Cauda Pavonis); Germany, 1702. From Jacobus Boschius, Symbolographia, sive de arte symbolica sermones septem (Augsburg: 1702), as reproduced in Jung, Psychology and Alchemy, p. 213.

Figure 88. Clinschor. Pogany, op. cit., p. 33.

Figure 89. The Grail appears to Galahad, Bors, and Perceval (tapestry, England, 1891–1894). After Sir Edward Burne-Jones, The Attainment: The Vision of the Holy Grail to Sir Galahad, Sir Bors, and Sir Perceval.

Figure 90. Parzival and Feirefiz parlay. After a nineteenth century facsimile of Wolfram von Eschenbach, Parzival, thirteenth century.

Figure 91. Earthrise. 1968, National Aeronautics and Space Administration.

Figure 92. Faustus. After Christopher Marlowe, The Tragical History of the Life and Death of Doctor Faustus (London: 1620), p. i.

Figure 93. The Summoning of the Goddess; India, MS. illustration, c. 1800. After Helmuth von Glasenapp, Der Hinduismus (Munich: Kurt Wolff, 1922), Pl. 16.

Figure 94. Pablo Picasso: Minotaur; detail of design for magazine cover, 1933. Pencil drawing with pasted papers and cloth tacked on wood: Minotaure, No. 1 (Paris: Albert Skira, June, 1933). From a sketch by Al Burkhardt.

Figure 95. Pablo Picasso; Minotauromachy; engraving, 1935. From a sketch by A1 Burkhardt.

Sketches for Figures 3, 4, 9, 10, 11, 12, 14, 23, 24, and 36 are by John L. Mackey.

Sketches for Figures 16, 17, 18, 28, 32, 40, 45, 51, 52, 56, 57, and 58 are by Al Burkhardt.