Within the depth-psychology corpus, ‘New Jerusalem’ functions as a charged eschatological symbol that is simultaneously theological, psychological, and cosmological. The tradition moves along two primary axes. The first, represented most fully by Jung and his close exegetes Edward Edinger and Marie-Louise von Franz, reads the heavenly city of Revelation 21 as a psychic image of wholeness: a mandala-structured totality in which the estranged opposites — heaven and earth, masculine and feminine, ego and Self — are at last rejoined. For Edinger, the descending city enacts the coniunctio, the sacred marriage of the Lamb with his bride, and its jewelled, quaternal architecture figures the completed individuation process. For von Franz, the New Jerusalem represents a qualitatively transformed creation — identified with a ‘glorified body’ that is neither identical to nor wholly continuous with ordinary matter. The second axis, represented by Abrams and Blake scholarship, secularises the image: the New Jerusalem becomes Blake’s visionary state of liberated human consciousness, the ‘free state of the mind’ that is Jerusalem-as-Liberty. Jung’s own commentary in ‘Answer to Job’ and ‘Psychology and Religion’ treats the Apocalypse’s finale as the culminating enantiodromia of the Christian aeon, the eruption of a feminine divine through the symbol of the city-as-bride. Across these readings, the term marks the telos of a long symbolic drama: the healing of the primordial split between God and creation.