Terra Alba — ‘white earth’ — occupies a precise and consequential position in the depth-psychological reading of alchemical literature. It names the purified substrate that emerges from the nigredo, the bleached ash or calcined residue upon which the gold of the philosophical work is to be sown. Jung, in Mysterium Coniunctionis, cites the canonical Hermetic injunction — ‘Seminate aurum in terra alba foliata’ — repeatedly and treats terra alba foliata as a composite symbol: the whitened, leaf-like earth that is simultaneously Luna, the ash of calcination, and the receptive feminine ground of psychic renewal. Von Franz, in her Aurora Consurgens commentary, amplifies this by connecting the ‘black earth’ of the nigredo’s dissolution to the luminous white earth of the albedo, reading both as aspects of the anima mundi and ultimately of the self. Hillman, characteristically, refuses a merely sequential reading: terra alba is not passive rest after struggle but an active, dynamic whiteness — ‘white is motion, black is identical with rest’ — that he identifies with the imaginal ground of mind itself, the moon-earth of reflection and poesis. Abraham’s Dictionary of Alchemical Imagery anchors the term lexically, identifying terra alba foliata with snow, with the ‘white foliated earth’ whose purity surpasses all worldly whiteness, and with the pure matter of the philosophical Stone. The central tension in this corpus runs between the literal-chemical reading (calcined ash as physical substrate) and the psycho-symbolic reading (albedo as a transformed state of consciousness).