I view Sabbath Assembly as an artist collective to be influenced by who we were working with, but somewhere along the Quaternity album, we started to work heavily with Kevin Hufnagel.
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The role of the Quaternity in religious symbolism is discussed at length by Carl Gustav Jung. Much of his in-depth study and observations upon the function and role of the quaternity in religious symbolism is applicable to the Layer Quaternity. To Jung the quaternity was a natural expression of differentiation which always represents a totality, citing the four elements, the four seasons, the ancient Greek schemata of the four humours, and the four temperaments, as well as the four Evangelists with their respective emblems in the form of the tetramorph in Christian iconography, as examples. The symbolism of the four entities of the Layer Quaternity exemplify Jung's observation that individuation develops through psychic qualities consisting of two pairs of opposites, which are often polarised to each other. C.G. Jung 'The Quaternio and the mediating role of Mercurius' CW 14 para. 5 – 13 pub.
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RKP 1955 C.G. Jung 'The Quaternity of the Homo Maximus' CW 13 para. 206 -209 pub. RKP 1968 C.G.Jung 'The Philosophical Tree'(1954) 3.
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The Tetrasomia CW 13 para. 358-68 RKP 1968 C.G. Jung 'The Concept of the Quaternity' CW 11 para. 243 – 267 and CW 11 para.
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"The Philosophers' Stone" from Alchemia (1606) by Andreas Libavius The four figurines of The Layer Quaternity share a number of iconographical details to an illustration found in Alchemia (1606) by the German academic Andreas Libavius in a chapter entitled De Lapide Philosophorum (The Philosophers' Stone) including - an identical pairing of a lower mortal pair with an immortal pair of bare-legged male and draped female above them, the shared titled captions of Gloria and Labor, along with both monument and illustration also depicting a palm branch, sun, moon and rotundum. Symbolically, the Layer Quaternity correspond to the alchemical "deities" of Apollo, Luna, Mercurius and Vulcan as named in Atalanta Fugiens (1617) by the German alchemist-physician Michael Maier (Emblem XVII). Collectively the Layer Quaternity are a unique alchemical mandala. Through polarized symbolism they delineate essential coordinates associated with Mandala art, namely Space (Heaven and Earth) and Time (Young and Old).
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Fancy, imagination, speculative faculty, etc. are included under the term.' – from Lexicon Alchemiae (1612) of Paracelsus (which are discussed by Libavius in Alchemia) are a quaternity of differentiated virtues or psychic entities which represent a complete wholeness or totality in sum.
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268 -279 pub. RKP 1958 As such, the Layer Quaternity may be viewed as exemplary of Renaissance-era psychology. Its four highly- symbolic figurine entities are simultaneously, a 'map' of the psyche, and a highly-original alchemical mandala in western funerary art.The Layer Monument: An introduction and interpretation as an alchemical mandala.
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The blessing of the priest consisted of three sections,Num. vi. 24, 25 and in the invocation of God the word "holy" was repeated thrice. The symbolism of the number four was based on the contemplation of the quaternity as found in the universe, which included both heaven and earthcomp. Job xxxvii.
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The Layer Monument with four Northern Mannerist figurines The Layer Quaternity are four marble sculpture figurines approximately in height located on the two columns of the Layer Monument, an early 17th-century polychrome mural monument () which was installed in the Church of Saint John the Baptist, Maddermarket, Norwich to the memory of Christopher Layer (1531–1600).
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The role of the Quaternity in religious symbolism is discussed in depth in the writings of the Swiss psychologist Carl Gustav Jung. In essence, the Layer monument's four figurines represent spiritual entities which agree with Jung's analytical psychology, that the psyche moves toward individuation in fours (made up of pairs of opposites). paragraphs 5–13. paragraphs 206–209.
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Spence has proposed the life scripts are integrated in the sequence of friendly weakness (at birth), hostile weakness (infancy), friendly strength and then lastly the commanding behaviour of hostile strength, some time in late childhood. Unlike Harris and Berne, Spence argues that hostile strength does not have to be "demonised or criminalised" as a mood, claiming that it is only one part of a balanced quaternity of behaviour.Spence, Iain (2012). The Hare Hypothesis.
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In the Middle Ages, the scholastic Roscelin was accused of tritheism. He was an extreme nominalist who saw the three divine persons as separately existing. He was condemned as a tritheist at the synod of Soissons in or about 1092. The realist scholastic Gilbert de la Porrée erred in the opposite direction, by distinguishing between three divine beings and the essence of God (making a quaternity rather than a trinity), and was accused of tritheism.
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He did, however, feel an urge to write the book. The basic thesis of the book is that, as well as having a good side, God also has a fourth side—the evil face of God. This view is inevitably controversial, but Jung claimed it is backed up by references to the Hebrew Bible. Jung saw this evil side of God as the missing fourth element of the Trinity, which he believed should be supplanted by a Quaternity.
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He recorded several albums with pianist Michael Garrick and Don Rendell in the late 1960s and early 1970s. In the 1970s, he worked with Ian Carr's Nucleus, Giles Farnaby's Dream Band, David Becker and Henry Lowther's Quaternity. He was a popular choice for visiting musicians including Sonny Stitt, Phil Woods and Lee Konitz. He appears on the 1971 album First Wind by Frank Ricotti and Mike de Albuquerque and on Tony Coe's 1978 album Coe- Existence.
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Bilious body language: Crass punk culture, early 1980s. A typical early example of an atavistic quaternity, from The Book of Kells. The hypothesis suggests that the flower children of the sixties and the mellow side of reggae culture presents a collective mood of "friendly weakness" while punk culture and certain aspects of rap culture present an archetype of 'hostile weakness'. In the late eighties and nineties, rave culture along with early drum and bass supposedly presents a mood based mainly on 'friendly strength'.
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The four figurines housed in the monument's pilasters, Pax and Gloria, Vanitas and Labor, (Peace, Glory, Vanity, Labor) are relatively rare examples of Northern Mannerist sculpture extant in Britain. Collectively they exemplify how Christian iconography during the era of Elizabeth I, in tandem with Renaissance Europe, integrated symbolism from the western esoteric traditions of alchemy and astrology into works of art, including the funerary monument. The Layer Quaternity in their totality are a unique alchemical mandala.Adam McLean The Alchemical Mandala pub.
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Phanes 1989 Through polarised symbolism they delineate essential coordinates associated with mandala art, namely Space (Heaven and Earth) and Time (Young and Old). They also represent fundamental aspects of the human condition, namely, gender, youth and age, as well as pleasure and suffering. In essence, the Layer Quaternity, not unlike the Scaiolae 'Spiritual powers of the mind comparable to psychic powers such as thought, love, hate, imagination, hope, fear'. C.G.Jung CW 13:206 citing Martin Ruland,'They emanate from the soul in man.
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Why four? Because I've chosen to adhere to the (Jungian) concept of > quaternity - four personality types, four seasons, four equinoxes, four > elements, four stations of the sun, four stages of the human life, four > cardinal directions, four Qabbalistic worlds, four limbs of the human body, > four main themes in Aarni's songs, four basic human brain circuits of > Timothy Leary's theory etc. Visualize the pentagram representing human > existence: there's four points combined in/ruled by the fifth. It's all of > course symbolic.
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At the top of the band page is written "4=1".Band section on the Official Online Dwelling The motive of this equation is maybe to consider the situation of the 4 declared members and one actual member and/or can be a reference to the Jungian concept of quaternity. On the news page (also referred to as the "Unspeakable Tidings"), the news are listed chronologically. However the dates are said to be written in the form corresponding to these in the Discordian calendar.
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The hypothesis suggests that most people are not hard wired to any particular life script and likewise young people are generally fluid enough to move between different pop trends with ease and some humour. Grunge for example is viewed as an atavistic hybrid, drawing on elements of both punk and hippie culture. The social symbolism of the hypothesis is also compared to the archetypal symbolism of Ezekiel's quaternity in the Christian Bible. Ezekiel is said to have had a vision of the winged man (angel), the bull, the lion and the eagle.
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Located semi- obscured on the south aisle of the church's west wall is The Layer Monument, a marble polychrome mural monument installed circa 1600 to commemorate the merchant, lawyer and mayor Christopher Layer. Its four figurines housed in its pilasters, Pax, Gloria, Vanitas and Labor are sculpted in the art-style of Northern Mannerism. Collectively the Layer Quaternity utilizes esoteric symbolism. The church also has identifiable associations with early British Freemasonry including a 19th-century headstone in its graveyard which depicts Masonic compasses along with the ancient Greek gnostic symbol of the Ouroboros.
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Catuṣkoṭi (Sanskrit; Devanagari: चतुष्कोटि, ) is a logical argument(s) of a 'suite of four discrete functions' or 'an indivisible quaternity' that has multiple applications and has been important in the Dharmic traditions of Indian logic, the Buddhist logico-epistemological traditions, particularly those of the Madhyamaka school, and in the skeptical Greek philosophy of Pyrrhonism. In particular, the catuṣkoṭi is a "four-cornered" system of argumentation that involves the systematic examination of each of the 4 possibilities of a proposition, P: # P; that is being. # not P; that is not being. # P and not P; that is being and that is not being.
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The same quaternity was later incorporated into illuminated manuscripts such as the Book of Kells. Spence has corresponded flower power and late reggae culture (Bob Marley, cannabis use, dub, dreadlocks) to the gentle angel; the rebellious mood of early rap and punk culture to the sullen bull and the leonine strength of drum and bass and rave culture to the proud lion. Grant Morrison and Iain Spence have split views on the subject of hostile strength played out through youth culture. Morrison suggests that the trend has come and gone with the film The Matrix (1999) along with commanding symbolism in the nu metal scene.
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The reason lies in the absolute simplicity of God. The acceptance of a real distinction (distinctio realis) would lead to acceptance of a composition in God, and with that to a dissolution of the Godhead. In the year 1148, a Synod at Rheims, in the presence of Pope Eugene III, condemned, on the instance of St. Bernard of Clairvaux, the doctrine of Gilbert of Poitiers, who, according to the accusation of his opponents, posited a real difference between Deus and Divinitas, so that there would result a quaternity in God (Three Persons plus Godhead). This teaching, which is not obvious in Gilbert's writings, was rejected at the Council of Rheims (1148) in the presence of Pope Eugene III (D.
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Lowther appeared for some time with the Keef Hartley Band, playing with him at Woodstock, the music festival held in New York in August 1969. In the 1970s he worked with Mike Gibbs (1970–76), Kenny Wheeler (from 1972), Alan Cohen (1972), Michael Garrick (1972–73), Kurt Edelhagen (1974), John Taylor (1974), Stan Tracey (1976 onwards), Tony Coe (1976), Graham Collier (1976–78), Jubiaba with Barbara Thompson (1978) and Gordon Beck (1978), in addition to his own ensemble, Quaternity. Lowther played the trumpet solo for Elton John on "Return to Paradise" for John's 1978 album A Single Man. He worked with Buzzcocks in 1980, Talk Talk from 1983 to 1991, with Peter King from 1983, and with Gil Evans in 1984.
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