Antimony occupies a richly determined position in the depth-psychology corpus, entering almost exclusively through alchemical hermeneutics. Jung’s most sustained treatment appears in Mysterium Coniunctionis, where antimony is identified with the ‘antimony of the philosophers’ invoked by Michael Maier — the arcane substance figured as a sunken king, a Christian dominant that has descended into the unconscious and must be raised in renovated form. Its chromatic ambivalence is insisted upon: antimony trisulphide produces blackness (kohl), while the pentasulphide yields the orange-red ‘gold-sulphur,’ linking the substance to the full nigredo-to-rubedo arc of the opus. Edinger, extending Jung’s framework into clinical psychotherapy, foregrounds the metallurgical identity of antimony as the ‘wolf of metals’ — the purifying agent that devours all metals save gold, functioning as balneum regis and thereby symbolising the ego’s encounter with a dissolving, purgatorial force. Hillman, reading through Artephius, recovers antimony’s whitening function: ‘antimonial vinegar’ as a ‘middle substance, clear as fine silver,’ capable of receiving tinctures and producing albedo. Abraham’s lexicographic work situates raw antimony ore among the synonyms for prima materia and the green lion. The term thus articulates a cluster of psychic operations — purification, descent, dissolution, and whitening — at the junction of sulphur, Saturn, and the royal motif.