An Introduction by Dyane N. Sherwood

C. G. Jung was the first to recognize the link between the ancient art of alchemy and the process of depth psychological transformation, between the images produced by the alchemist and the images in the dreams and imaginations of contemporary patients in analysis. Our book builds upon Jung's contribution and upon on our experience as Jungian analysts.

Transformation of the Psyche is organized around 22 illuminated paintings from an early Renaissance alchemical manuscript belonging to the British Library. The images of the Harley Splendor Solis are possibly the most beautiful and evocative alchemical paintings to be found anywhere, and they are widely known to students of alchemy. Jung reproduced several Splendor Solis images in his works, yet no one has previously explored the symbolism of the paintings as a series in relation to the process of depth psychological transformation. Our work is also the first scholarly study of the mythological and historical allusions contained within the images.

We have conveyed our ideas without relying on Jungian terminology or jargon; in the instances where we use terms, they are explained either in the text or in an endnote. Indeed, one premise of our book is that symbols expressed in image are more compelling than intellectually-derived constructs for the description of psychological states and processes of transformation. Our intent is not simply to explain or analyze, but rather to invite the reader to participate in the creative and transforming process evoked by these images.

The illuminated paintings in the Harley Splendor Solis (1582) address themes that are still unfolding in the modern psyche. Their paradoxical imagery speaks to the need for the redemption of matter and for the rediscovery of feminine values. They suggest the emergence of form out of chaos and address our deepest yearnings to live in harmony with the natural world. The paintings challenge our contemporary fascination with the mythology of the hero, as well as our greed for knowledge and control untempered by wisdom. We are shown that the true way of transformation requires a willingness to question the familiar, to sacrifice hard-won ego adaptations which have outlived their usefulness, and to suffer the inner experience of not-knowning, of chaos, and of the death of the old, so that a new center of being can emerge. Yet the beauty of these paintings, with their golden trompe d'oeil frames filled with plant and animal forms, hold us and remind us of the mysterious life-force present in each of us.

This book crosses conventional boundaries. The paintings of the Splendor Solis are not illustrations of our text but rather the inspiration for it. To help the reader enter the world of alchemical symbols and imagery, we include information on the history of alchemy, the historical context of the paintings, their alchemical symbolism, and their literary allusions. We invite scholars to research still unanswered questions about the identity of the painter and the origins of the manuscript. We also find that these images convey ideas that were not acceptable to the medieval Christian church and therefore could not be openly stated; as such, they are an untapped resource for the social historian. Likewise, we encourage scholars of spiritual disciplines, as well as psychoanalysts of all persuasions, to reflect on these paintings and to comment upon them from their unique perspectives.

Each time we have used these images in advanced training seminars, our own fascination was shared by the participants, who without fail have brought to our attention fresh observations and interpretations. It is our greatest hope that these images will continue to spark the curiosity and creativity of our readers.

Dyane Sherwood
Woodside, California
May 15, 2003