Jerusalem occupies a position of remarkable symbolic density within the depth-psychology corpus, functioning simultaneously as cosmological axis, psychological complex, and eschatological image. Eliade establishes the foundational cartography: Jerusalem is an imago mundi, a sacred center where heaven, earth, and the subterranean realm converge — a terrestrial repetition of the cosmic mountain that stands at the navel of the world. This spatial theology then feeds directly into depth-psychological interpretation. Jung reads the heavenly Jerusalem of Revelation as the mother-imago, the celestial bride who is the purified counterpart to the Whore of Babylon — an opposition that maps neatly onto the tension between the personal mother and the devouring mother. Edinger systematizes this reading, treating the bejewelled mandala-city of Revelation 21 as a symbol of totality, the coniunctio of heaven and earth, ego and Self. Hoeller, operating within a Gnostic framework, sets Jerusalem against Alexandria as two spiritual dispositions — orthodoxy and law against pluralism and creative freedom — and notes that Jung himself preferred the Alexandrian pole. Abrams traces the Augustinian arc in which Jerusalem becomes the Romantic pilgrim’s goal, home, and mother simultaneously. The term therefore carries at least three registers in this literature: cosmological center, psychological archetype of wholeness and the mother, and historical-theological symbol of law, captivity, and eschatological restoration.