Images 50-64 are mentioned, but I didn't figure what that meant. Perhaps they are just the pages from illustrated version, I don't know. No pictures, sorry!
The incantations seem to be invocations both of Christ yet unborn and of god of paradoxical nature, Abraxas and gospels are mentioned in the footnotes. The incantations themselves seem to be just adorations or "incubations" , healing Izdubar so there's not much to comment (or, I missed everything that's important)
"I forgive myself these words as you forgive me for wanting blazing light" feels like embarrassed wish for spiritual/magical experience, like one knows he should show respect either way, miracle or no miracle.
"We asked the earth, we asked the heaven(...) we found you in the egg" seems like occult instruction to sublimate the crude elements of perception to aetheric akasha, egg of darkness and maybe this part balances the earlier, also relating to imagination.
The last section of these incantations looks like something from Catechism of Lucifer, banishing one's father and mother for God, dressing in woman's clothes, seeing warriors but breaking only your own armor & c.
After these incantations Jung has "made everything great small and everything small great" but he sees he is still not ready after all, because "an egg one carries in his pocket" is not worth blaspheming. He "hates the pitifulness of God". This becomes a realization:
"Nothing stands firm: you touch yourself and you turn to dust. You touch the God and he hides terrified in the egg. You force the gates of Hell: the sound of cackling masks and the music of fools approaches you. You storm Heaven: stage scenery totters and the prompter in the box falls into a swoon. You notice, you are not true, it is not true above, it is not true below, left and right are deceptions. Wherever you grasp is air, air, air. "
Jung has his God izdubar in his pocket and could end the race of Gods, but decides that he loves the Great One too much. I think we see Jung's interpretation of Nietzsche's" death of God" here, even more so because in the earlier chapter Izdubar was squeezed to a size of an egg and there was talk "one used think he could murder a god".
"I felled the Great One, I mourned him, I did not want to leave him, since I loved him because no mortal being rivals him. Out of love I devised a trick that relieved him of heaviness and freed him from the confines of space. I took from him - out of love- form and corporeality. I enclosed him lovingly in the maternal egg. Should I slay him, the defenseless one whom I loved? Should I shatter the delicate shell of his grave, and expose him to the weightlessness and unboundedness of the winds of the world? But did I not sing the incantations for his incubation? Did I not do this out of love for him? Why do I love him? I do not want to tear the love for the Great One from my heart. I want to love my God, the defenseless and hopeless one. I want to care for him, like a child."
Now the egg seems to play a triple role: it is akasha, dead god and unborn Christ. God is dead, but could be born again from love of life, not as omnipotent dominant superego, but as fragile object of love. The incantations maybe are his way of lighting something like this in his heart. The opening of Jesus' grave also comes to mind.
The chapter ends with these words:
" A sunless spirit becomes the parasite of the body. But the God feeds the spirit. "
Seems like an attempt at nietzschean spirituality that rejects anti-life, truer world & c. thinking and wants to see holiness in this world now. If you want it darker, it could also mean that God feeds the sunless spirit to be more of a parasite and gives it strenght to keep going towards death. Or even both as a process of spiritualization.